THEATRES 



and 



Motion Picture Houses 



A PRACTICAL TREATISE ON THE 
PROPER PLANNING AND CON. 
STRUCTION OF SUCH BUILDINGS 
AND CONTAINING USEFUL SUG- 
GESTIONS, RULES AND DATA FOR 
THE BENEFIT OF ARCHITECTS, 
PROSPECTIVE OWNERS, ETC. 



BY 

ARTHUR S. MELOY 

ARCHITECT 

NEW YORK and BRIDGEPORT, CONN. 



Illustrated with Line 'Drawings by the oAuthor 



V. 



First Edition — -Two Thousand — Price #3.00 

"Published by 

ARCHITECTS' SUPPLY & PUBLISHING COMPANY 

Tribune Building, New York Gty 

1016 



FIRST EDITION 



fl& 






Copyright 1916 

by 
Arthur S. Meloy 



Press of 

FEDERAL PRINTING CO. 

New jSpRK Ciyr^ 



FEB 191916 

i)GI.A418910 



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LIST OF ILLUSTRATIONS 

I. Saxe Theatre, Minneapolis, Minn. 

II. Orpheus Theatre, Chicago, 111. 

III. New Orpheum Theatre, Kansas City, Mo. 

IV. American Theatre, Chicago, 111. 

V. Loew's National Theatre, New York. 

VI. Regent Theatre, New York. 

VII. Elsmere Theatre, New York. 

VIII. Eltinge's Theatre, New York. 



LIST OF PLATES 

Page 

Floor Plan 5 

Balcony Plan 7 

Section 11 

Section 13 

Section 14 

Section 16 

Section 18 

Section 22 

Floor Plan 32 

Balcony Plan 32 

Section 33 

Section of Stage 40 

Section of Stage 41 

Details of Pin Rails 44 

Balcony Plan 47 

Floor Plan 48 

Floor Plan 53 

Plan of Stage 55 



CONTENTS 



Page 

Preliminary 1 

Selection of Site 2 

Planning a Theatre 2 

Length of "Throw" 4 

Rule for Estimating Approx. 

Seating Capacity 4 

Design 6 

Construction 6 

Fire Proof Construction 8 

Windows 8 

Sight Lines 9 

Steppings of Balcony 12 

Pitch of Floors 17 

Balcony 19 

Projection Lines 20 

Screens 20 

Lenses and Focusing 20 

Table of Sizes of Screens 61, 62 

Boxes and Loggias 21 

Stairs 21 

Fire Escapes 23 

Exits 24 

Aisles 25 

Seating 26 

Capacity of Various Theatres... 28 

Proscenium Arch 29 

Proscenium Curtain 30 

Asbestos Curtain 31 

Steel Curtain 30 

The Stage Proper 34 

Stage Floor 39 

Apron 39 

Height of Stage Floor 42 

Width of Stage 42 

Depth of Stage 42 

Switchboard 43 



Page 

Fly Galleries 43 

Pin Rails 43 

Gridiron 45 

Stage Dimensions of Various 

Houses 49 

Stage Doors 50 

Paint Bridge 50 

Lighting Gallery 51 

Scene Dock 51 

Stage Skylights and Ventilators.. 51 

Egress 52 

Traps 52 

Floor Finish 54 

Floor Loads 56 

Ceilings 56 

Terra Cotta 56 

Elevators and Escalators 57 

Projection Room or Machine 

Booth 58 

Scenery 66 

Theatre Fires 70 

Panics in Theatres 71 

Fire Drills 72 

Building Codes and Tables 72 

Decorations 74 

Heating 75 

Ventilation 78 

Auditorium Lighting 82 

Stage Lighting 85 

Electric Wiring 96 

Sprinkler Systems 89 

Stand Pipes 94 

Fan Room 95 

Advertising Space 95 

Extracts from the N. Y. Build- 
ing Code Relative to Theatres. .122 



PREFACE 

AS there are a great number of theatres being built in this, 
/\ and other countries yearly, and an increasing demand 
-*- -*- for many more in the future, and as there has been 
no treatise on the subject published in book form for the past 
twenty years, the author realizes the need for a book that 
will give to the architect, prospective owners and managers, 
some general information in the proper planning of various 
types of theatres. This work has been prepared for the bene- 
fit of those who are interested in this type of structure, and 
the author hopes the desired end may be accomplished. 

The author wishes to acknowledge with thanks the many 
valuable suggestions furnished by the following gentlemen 
in reference to the stage and its equipment. 

Mr. J. H. M. Dudley, of the Lee-Lash Studios, N. Y. City. 

Mr. J. R. Clancy, of Syracuse, Mfr. of stage hardware. 

Mr. J. H. Kliegl, of the Universal Stage Lighting Co., of 
N. Y. City. 

Any criticism by the reader, or any suggestions for 
improvements in this book for future editions, will be kindly 
received by 

THE AUTHOR. 
Bridgeport, Connecticut, January, 1916. 



PRELIMINARY 

THERE are a great number of theatres in this country 
devoted to opera, drama, vaudeville, stock, etc., which 
we are all familiar with, and many of them are beautifully 
designed and properly and successfully planned. 

This type of theatre has been in use for centuries and 
probably will always be in demand so that new theatres for 
all purposes will be built from time to time. 

Houses devoted to the legitimate plays and for combina- 
tion vaudeville and pictures, will continue to be in demand, 
but the greatest demand at present is for the motion picture 
theatre. 

There are about 25,000 picture houses in this country 
alone, and representing an investment of about 175,000,000 
of dollars, with an average daily attendance of about 
6,000,000 of people. 

The business is going ahead with great strides, and is 
continually being developed, and improved. It combines 
pleasure and amusement with instruction. The growth has 
been phenomenal and unprecedented. 

The larger theatres are being converted to its use in 
many of the large cities. 

Very few people are able to travel the world over on 
account of the time and expense required, but it is within the 
reach of everybody to see the scenes gathered from all over 
the world and displayed on the screen at a low cost while 
he sits in comfort. 

Pictures offer one of the best kinds of entertainment 
to-day, and will continue till someone can invent something 
better for the same admission fee. 



2 THEATRES AND PICTURE- HOUSES 

SELECTION OF SITE 

IN selecting a site for a theatre, the first and most 
important thing to be considered, after the matter of 
surrounding population, regular and transient traffic, and 
its relative position to other theatres is concerned, is the lot 
upon which the house is to be built. 

It should be on a prominent street, convenient to passing 
trolleys, and in no case on a dark side street. People will 
always walk on the main or principal streets that are well 
lighted. 

The lot should be of such size as to give the desired seating 
capacity, as well as provide the necessary exits on one or 
both sides, or in the rear to a street or alley as required 
by law. 

PLANNING A THEATRE 

In planning a theatre building, the skill of the architect 
is probably taxed more than in any other type of building 
on account of its complex features. His talents are brought 
into play to create a safe, comfortable and pleasing result. 
The architect not only has to work out the best arrangement 
of the building regarding seating, sight lines, heating, venti- 
lation, lighting, etc., but has to give special attention to the 
construction, foundations, safety of the public and many 
other intricate problems. 

The laws of each state and each municipality vary in 
regard to exits, etc. Therefore, it is necessary to look up 
all state and local laws relative to safety, health, fire, licenses, 
etc., before any attempt to plan the house is started. (See 
Extract of State and Municipal Laws, on following pages.) 



THEATRES AND PICTURE HOUSES 3 

If two theatres are located side by side, the larger and 
more pretentious house will draw the greater crowds. One 
reason for this is that they will go where the crowd goes, 
and they feel that there are better chances for getting a 
seat in the larger houses. There are probably other 
reasons. 

If the proposed theatre is to be a large one for drama, 
vaudeville or stock, besides pictures, it may be placed on a 
rear lot with stores in front and offices above the entrance, 
if desired, but if it is a small theatre it is not advisable to 
have stores in front as the space occupied by the stores may 
be used to much better advantage by increasing the seating 
capacity, and the extra seats gained will bring in much more 
revenue than one or two small stores, no matter how valuable 
the land might be. It is very easy to figure out the differ- 
ences in the rent, and the additional capacity obtained. 
Then again, the front of the theatre may be made much more 
attractive if the building is devoted to amusement purposes 
only. It will also give an opportunity for a wider lobby 
which all theatre managers desire. 

For a regular theatre equipped with a stage, a wide house 
is desirable up to and not exceeding 80 ft. A width of from 
70 to 75 ft. is ideal, and on account of the extra width the 
depth of the house may be shortened and still give the 
required seating capacity; this form of house brings the 
audience nearer the stage. The depth of any theatre where 
speaking parts are to be given should not exceed 75 ft. from 
the curtain line to the rear seats, as the human voice will not 
carry more than that distance without straining. The front 
of the balcony should not be nearer than 30 ft. from the cur- 
tain line. The nearer it is to the curtain line, the higher it 



4 THEATRES AND PICTURE HOUSES 

will be at the rear, or the last row of seats, and therefore 
more stairs to climb. 

Picture houses are generally built on a 50 ft. lot, and may 
be considerably longer than a regular theatre. 

While the limit of "throw," or distance from the machine 
to the screen, is 150 ft., the proper distance for good results 
is from 60 ft. to 85 ft. (See table of distances.) No screen 
should be nearer than 35 ft. from the machine. 

Most picture theatres are built on inside lots. Only 
occasionally are they built oi a corner lot or on a lot running 
through from one street t^ another. Therefore, courts or 
passageways must be provided. Some cities require passages 
on both sides, while others on one side only. (See extract of 
laws.) 

Very few theatres, in proportion to the number built, are 
properly planned, on account of lack of practical experience 
of the designers, and the misguided demands of the owners. 

No living rooms should be placed above any theatre, but 
club rooms, dance halls and offices are permissible. 

The rule for estimating the approximate seating capacity : 
find the sq. ft. area of auditorium and divide by 6, this will 
give capacity of main floor. For balcony area, divide by 7. 
This rule is safe. Of course, the only correct way is to lay 
out the aisles and space for seats on the plan and count 
them. (See article on "Aisles and Seats.") 

The average capacity for large houses is from 1200 to 
1800, and for small houses from 400 to 1000. 

Provisions should be made for a manager's office, also 
toilet and retiring rooms, and sometimes check rooms. In 
the larger theatres provision is made for rooms for the stage 
manager, store rooms for the stage carpenter and electricians, 




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6 THEATRES AND PICTURE HOUSES 

wardrobes and toilets for actors, trunk rooms, etc., also room 
for the orchestra below the stage. 

In picture houses where there is no regular stage, it is 
better to make a false stage so as to be able to set the screen 
as far away from the front seats as possible, otherwise the 
first few rows of seats are of little value as the picture does 
not show up well at a close range. 

DESIGN 

While the plan and layout of the houses are often faulty, 
the exterior designs are in a great many cases beautiful, so 
that it is not the intention of the author to treat on the design 
for either the exterior or interior, as these features may well 
be left to the architect in charge, only suggesting that due 
thought and care should be made in the placing of lights on 
the exterior, and spaces provided for the advertising of the 
show. 

Managers are bound to make a lavish display of posters 
and will invariably cover up some architectural features 
unless ample provision is made for the purpose. 

CONSTRUCTION 

It is, of course, obvious that a theatre, to be structurally 
safe, should be built entirely of fireproof materials and all 
steel beams, girders and trusses should be protected with 
fireproof materials. All external and internal walls should 
be of bricks or hollow tile or other approved fireproof 
material. Special attention should be paid to the construc- 
tion work of the stage as nearly all fires have their origin 
there. 

There are various types of fireproof construction on the 
market that are suitably adapted to theatres. 




HG-.2. 



8 THEATRES AND PICTURE HOUSES 

FIREPROOF CONSTRUCTION 

All architects understand the meaning of the term fire- 
proof, while the average layman has a very vague idea of 
its meaning, and often considers cost prohibitive, but from 
the fact that lumber is getting scarcer, of poorer quality, in 
shorter length and more costly every year, and as the various 
methods of reinforced concrete construction are getting 
better and cheaper every year, the difference in the cost is 
not so great when all things are considered. 

The walls, both exterior and interior, of a large theatre 
should be constructed entirely of brick or concrete. The 
interior walls may be built of hollow tile, and minor partitions 
of metal studs and lathed with metal lath and plastered with 
hard plaster. 

Stairways should be built of iron or concrete and enclosed 
where possible with fireproof walls. Roofs may be con- 
structed of hollow tile or concrete slabs and covered with 
fireproof asbestos, plastic cement or waterproof tiles laid in 
cement. 

The floors may be built of hollow tile, poured concrete or 
slab construction. 

There are not so many doors and windows in the average 
theatre, but what the extra cost of making them of metal 
would be money well expended, also the trim around same. 

The windows, particularly if exposed to inflammable sur- 
rounding buildings, should have metal frames and sash, 
glazed with wire glass. These are better than swinging 
shutters. Exposed exterior walls may also be protected by 
a perforated sprinkler system that will allow a sheet of water 
to form down on the face of the wall. (See article on 
"Sprinklers".) 




II. ORPHEUS THEATRE, CHICAGO, ILLINOIS 
Aroner & Somers, Architects 



THEATRES AND PICTURE HOUSES 9 

SIGHT LINES 

One of the most important things to be considered in 
planning a theatre is the sight lines or radius of vision, and 
it is even more important in a picture house than in a regular 
theatre, for the reason that a person sitting in the audience 
of a regular theatre, if he can see the actor between the heads 
of the people in front of him as he moves from one part of 
the stage to the other, and can hear his voice, he will be con- 
tented, whereas in a picture theatre he must be able to see the 
entire surface of the screen or he will lose the full benefit of 
the play and if the patrons are unable to get a full view of 
the screen they will make complaint to the management and 
will also publish the fact to their friends of this defect, and 
the receipts will suffer accordingly. Therefore much thought 
should be given by the architect to the proper laying out of 
the sight lines. 

The vision should not be limited to the area of the screen 
only, as the people in the last row of seats should be able to 
see at least 2 or 3 feet above the top of the screens from 
underneath the balcony. In a regular theatre a person sitting 
in the last row should be able to see at least 16 ft. high on the 
curtain. The people in the balcony, while they may have an 
unlimited vision above the screen, should also be able to see 
the tops of the heads, at least, of the orchestra. Therefore, 
the first thing to do after determining the floor plan of the 
house, stage, exits, etc., will be to establish the sight lines. The 
best method to proceed in this is to first locate the position of 
the eye on the sectional drawing of the person sitting in the 
last row of seats and then draw a line to a point about 3 ft. 
above the top of the screen; this line establishes the lowest 
point of the underside of the balcony (see Figs. 3, 4, 5, 6 and 7). 



10 THEATRES AND PICTURE HOUSES 

Due consideration should be made for persons standing 
in the rear. The pitch of the auditorium floor is also to be 
taken into consideration, and the height of the stage or 
the bottom of the screen, as this will regulate the position of 
the sight lines. The bottom of the screen is generally set 
from 1 to 4 ft. above the stage, according to conditions. 

The pitch of floors, heights, etc., will be described under 
a separate heading. 

After having established the location of the front of the 
balcony, draw a line from a point about 4 ft. below the stage 
on the curtain line through the top of the first riser of the 
balcony to the rear of the house (in a theatre the rear is the 
front), or, in other words, the rear of the people. This line 
determines the lowest pitch for which the steppings of the 
balcony may be made and represents the edge of the nosings 
of the risers, but as the steps go towards the rear, they should 
be slightly increased from the straight line and should be on 
a slight rising curve. 

Next locate the eye of the person in the front row of the 
balcony and the person sitting in the last row and draw a line 
through these two points to the apron of the stage and see 
that it strikes well below the same. The eyes of a person 
sitting is 4 ft. from the floor, and 5 ft. when standing. In 
picture theatres, the starting point of 4 ft. below the stage 
may be modified somewhat, depending on conditions. 

Now, if entirely satisfactory results have not been 
obtained, raise or lower the pitch of the main floor and the 
stage, and lay out the sight lines again and in the same man- 
ner, and it will be found that a slight change in the main floor 
will make considerable change in the balcony, as to its height 
in the rear. 



12 THEATRES AND PICTURE HOUSES 

It is better to work out these lines in two or three (lif- 
erent ways before determining the exact position of the 
balcony, and having done so you will have almost perfect 
conditions as far as sighting is concerned. 

Do not make the balcony so high that it will require too 
many steps to ascend, as this is a detriment. The arrange- 
ment of balcony stairs will be described under another 
heading. 

The steppings of the balcony should be not less than 2 ft. 
5 in. wide, allowing a few inches extra for the first and last 
rows. 

The risers may start with a 4 in. riser and be increased 
toward the rear, but in no case should the last riser exceed 
18 in., and it is very seldom necessary to go as high as that 
except in a second balcony or gallery, which may be 21 in. 
(See table of "Comparative Laws of Various Cities.") Gal- 
leries are not in such demand now as they used to be, espe- 
cially in low priced houses, because the extra cost of the 
construction of the gallery, the extra height required for 
the walls, and the extra heating required makes it imprac- 
ticable from a financial standpoint, except in special cases 
where the land area is limited or where a large seating 
capacity is required. 

Extra steps are required in the aisles of the balcony where 
the risers are over 10 in. high. 

In a wide house it is necessary to lay out sight lines on 
the side of the balcony as well as in the center. This will 
bring the front rail of the balcony on a downward curve 
towards the sides. 

The location of the projection rooms or machine booth is 
important and will have some effect on the height of the 




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THEATRES AND PICTURE HOUSES 15 

balcony, as will be described under heading of "Projection 
Lines." 

As no two theatres are alike, the sight lines must be 
worked out to fit the individual case and not follow any set 
dimensions of any other house. The operation is compara- 
tively simple and not as difficult as it appears. 



THEATRES AND PICTURE HOUSES 17 

PITCH OF FLOORS 

The location of the main floor in a theatre depends some- 
what on local conditions. For instance, if the grade of the 
ground is much lower in the rear or stage end, it gives ample 
opportunity for a good slope to the floor without throwing 
the rear exits below ground, in which case the main entrance 
lobby may be level or even pitch slightly downward if 
necessary. (See Figs. 4 and 5.) If, on the other hand, the 
ground is higher at the stage end, it is often necessary to 
grade the entrance lobby up considerably so as to bring the 
rear exits out above grade. (See Figs. 7 and 8.) 

A good slope to the parquet floor is desirable, as it gives 
a better view of the stage and helps in working out the sight 
lines. No steps should be placed in the aisles on the lower 
floor. While it is desirable to have a good pitch to the lower 
floor, this pitch does not have to be continued to the stage 
but about two-thirds of the way and the rest may be level, 
because the people in the first ten or twelve rows are looking 
up while the people in the rear are looking over their heads. 
The floor in the extreme rear may be raised above the aisles. 
This also helps to keep the side and rear exits out of the 
ground. (See Figs. 4, 5 and 8.) Exits below grade are bad. 
The laws in some states limit the pitch of floors to 1 in. to 
the foot. In many cases this is not enough for good results. 



THEATRES AND PICTURE HOUSES 19 

BALCONY 

The balcony in a theatre should be easy of access, and 
without having to ascend too many steps. Balconies are 
planned in a great variety of ways. A curved front in a 
wide house or a straight front in a narrow house. It may 
also be divided into two sections, about midway between 
front and rear with an aisle or passage running crossways, 
and the stairs should land on the passage. 

It is not a good plan to have the stairs land at the highest 
point of the balcony as it makes a longer climb and the 
people do not like to climb to the top and then walk down 
again, but if the stairs land near the center or below the 
center, then the people may pass to the front and rear from 
the cross aisle. (See Figs. 5, 7, 8 and 10.) A good scheme 
is shown in Fig. 3, wherein tunnels are used at two different 
levels. 

It is better to avoid the use of posts to support the balcony 
by using trusses or heavy girders from wall to wall, although 
it adds considerably to the cost of construction on account of 
the span requiring heavy steel girders, but the owner and 
patrons would appreciate the benefit derived by not having 
posts to obstruct the view. Balconies may overhang about 
one-third their depth if necessary, but must be well anchored 
to the rear walls to prevent any overbalancing. The balcony 
rail should be trussed so as to give additional stiffness to 
the overhang. 

Loggias are a good feature, both for convenience and 
decorative features. 

In Pennsylvania no balconies are allowed in picture 
theatres. 



20 THEATRES AND PICTURE HOUSES 

PROJECTION LINES 

The line of the axis of light should not be more than 20 
degrees off the center to give good results. (See Figs. 3, 7 
and 8.) Any greater angle will give a contorted picture, 
unless the screen is tilted so as to reduce this angle, but a 
tilted screen is not desirable as it gives an unpleasant effect 
to the stage and proscenium arch, and while the picture itself 
may be in true focus at all parts of the screen, and will give 
a perfect picture from the balcony, it will appear distorted to 
the spectators in the front rows of the lower floor on account 
of the variation in distance between the top and the bottom 
of the picture and the eye. 

The position of the projection machine and its relation 
to the screen is important. The best results are obtained 
when the center line of the lens is opposite the center line of 
the screen or nearly so, and the center of the beam of light 
is at right angles to the screen. If the light strikes the 
screen at any angle other than a right angle, the picture will 
be contorted, and the greater the angle the greater the con- 
tortion. Thus, if the machine is set, say 20 ft. above the 
center of the screen, the result will be a wide picture at the 
bottom and narrow at the top and only a part of the picture 
will be in a true focus. If the machine is greatly to one side 
of the center of the screen, the picture will be wide on one 
side and narrow on the other. 

If the picture is shown on a movable curtain at front of 
stage part of the time, and on a fixed screen at the rear of 
the stage at another time, it will require an additional set of 
lenses on account of the difference in "length of throw." 

Do not locate the booth nearer than 35 ft. from the screen, 
as the result will be cloudy. (See "Table of Distances.") 



THEATRES AND PICTURE HOUSES 21 

BOXES AND LOGGIAS 

Boxes are not always a success in the way of vision 
because one can only get a view of one side of the stage 
from the boxes. 

They are used more as a decorative feature to fill up a 
waste corner that is good for no other purpose. For deco- 
rative purposes they offer great opportunities. 

Boxes or stalls arranged along the side, however, as 
shown in Fig. 17, are useful as far as vision is concerned, 
and the corner space can then be used for dressing rooms 
or other purposes, if separated by a fireproof wall from the 
auditorium. 

These stalls should be somewhat elevated from the main 
floor. 

Loggias in the front of the balcony add much to the 
attractiveness of the balcony plan as well as to the deco- 
rative treatment from below, and on account of their 
exclusiveness, have the advantage of bringing better prices 
for the seats, as they are, in fact, the best seats in the house. 

STAIRS 

Considerable care should be exercised in the planning 
and location of stairways so as to give a safe and quick 
means of egress in case of panic. 

Stairways incased with fireproof walls are most desir- 
able. Entrance to the balcony may lead from the main floor 
in lobby, but should also lead direct to the street. 

No stairway should be less than 4 ft. wide, where the 
balcony serves fifty people, and the width increased 6 in. for 
every additional fifty people. 



THEATRES AND PICTURE HOUSES 23 

No winding stairways should be allowed. 

The risers should not exceed 7% in. and the treads never 
less than 9y 2 in. run. Provide hand rails on both sides of 
all stairs. 

Stairways over 6 ft. in width should have a hand rail in 
the center as well as the sides, and strongly supported and 
secured to the treads or risers. Long stairways should be 
broken with one or more landings, at least 4 ft. wide. 

Eighteen steps is about the limit without a landing. No 
matter how small the theatre, allow at least two separate 
stairways from the balcony, leading to the outside, and one 
fire escape. 

The stairs from the second balcony should be separate 
from the first balcony so as to avoid jams, and no stairways 
should communicate with the people from the main floor. 
The more the streams of people can be kept apart, the more 
quickly the house may be emptied and the less danger in case 
of panic. Single steps must be avoided in all cases. Angles 
on landings should be rounded. 

FIRE ESCAPES 

There should be at least one fire escape from each balcony, 
not less than 4 ft. wide and increased in width in proportion 
to the seating capacity of balcony. The fire escape should 
not be allowed to obstruct any passage unless there is ample 
width outside of same. All outside fire escapes should be 
covered as a protection against snow and ice. Fire escapes 
to be efficient must, of course, be regular stairways of iron 
or other fireproof construction, and not ladders that cannot 
be used by ladies and children. 



24 THEATRES AND PICTURE HOUSES 

EXITS 

There should be plenty of exits of proper width and 
location, with doors to swing outward in such a way as not 
to block the passage or alleyways. 

No exit door should be locked during any performance, 
but should be provided with panic bolts. These lock the 
doors from the outside but can always be opened from the 
inside. 

The balcony and gallery should be especially provided 
with exits, as the people occupying them are more endangered 
from fire or panic than those occupying any other part of 
the house. 

The exits on the main floor should be arranged so as to 
best serve the people. 

In case of panic, people would naturally look to the main 
entrance or the way in which they came in first, and then to 
the exits afterward, therefore the main entrances should be 
as large as is consistent with the conditions. 

Besides the main entrance, there should be at least one 
exit on the stage end of the house either at the back or on 
the side. When the seating capacity of the main floor 
exceeds 500 people, there should be one additional exit for 
each 500. No exit doorway should be less than 5 ft. wide. 
No exit should lead to any enclosed space, or through any 
other building. Municipal laws of most of the principal 
cities regulate the number of exits. 

No blind aisle or architectural feature that looks like an 
exit or doorway should be permitted, nor should any mirrors 
be placed so as to appear to be an opening where there is no 
such opening. 





mm m m 




III. NEW ORPHEUM THEATRE, KANSAS CITY, MISSOURI 
G. Albert Lansburgh, Architect 



THEATRES AND PICTURE HOUSES 25 

AISLES 

Provide as many aisles as is consistent with the width of 
the house. It is preferable to have two center aisles and one 
aisle on each side next to the wall. One aisle in the center 
of the house is not desirable as it causes the loss of the best 
seats in the house, and furthermore the actors prefer to look 
into the faces of a solid body of people rather than face down 
the aisle. 

Do not place seats next to the wall, as it interferes with 
the side exits unless cross aisles are provided, and that is a 
bad feature, especially in picture houses, as people are con- 
stantly passing in front of those sitting. 

The minimum width of any aisle with seats on both sides 
should be 3 ft. and widen toward the rear, P/2" to every 5 ft. 
in length, as it has to serve more people in exit. Aisles with 
seats on one side only may be 2-4 at the starting point. It 
is better to make the main aisles straight from one end to 
the other, so that the seats may be regular and all on one 
width. It also gives additional seats in the central bank, 
which is most in demand. (See Fig. 1 dotted lines.) 

There should be no steps in aisle or passageways on the 
main floor. All seats must be securely fastened to the floor. 
Do not allow movable chairs in any aisle or passage that 
will obstruct same in making a hasty exit. 

Standing room is always desirable in any theatre from the 
manager's point of view. Aisles or passageways must not be 
obstructed by radiators unless over head. They may be 
recessed into the walls. 



26 THEATRES AND PICTURE HOUSES 

SEATING 

The old method of horseshoe curves in laying out seats 
has practically gone out of style. The seats in most of the 
modern houses are arranged in long curves and in many 
cases almost straight. In narrow houses the rows should 
be straight. 

There should not be more than thirteen seats between 
two aisles, so that there will not be more than six seats to 
pass to get to either aisle. 

The widths of opera chairs vary from 18" to 22" and, 
while they are made even narrower, they are not recom- 
mended, as an 18" seat is narrow enough. Only in a few 
cases do they exceed 22". All widths are used on center to 
center measurements. The character of the house deter- 
mines the width of seats. 

The spacing of seats from back to back varies from 28" to 
32". Where heavy upholstered seats are used the spacing must 
be at least 32" on account of the fact that the chairs them- 
selves take up about 2" additional space. But for veneered 
chairs 29" or 30" is considered good, while 28" is all right for 
cheaper class picture houses. 

Allow two inches more for spacing in balconies where the 
risers are high, as the back of the chair will hit knees of the 
persons in the next row. 

Always purchase seats with a foot rest, especially if there 
is an incline to the floor. 

This does not apply to balcony seats. 

A house with comfortable seating is talked about by the 
patrons on the outside, and the house gets a good advertise- 
ment in this way. 



THEATRES AND PICTURE HOUSES 27 

No matter how nice the decorations and other features 
may be, if the seats are so close together that the knees touch 
the backs of the seats in front, and the seats are so narrow 
that a broad gage man has to squeeze in, it is detrimental to 
the house, therefore do not try to gain too many extra seats 
at the sacrifice of comfort. (See table of comparative laws.) 

An electric signal system has been invented for use in dark 
houses so that a patron may locate vacant seats by signal 
lights on the back of the seats. These are all connected to 
an indicator in the box office, so that it may be seen at a 
glance which seats are occupied and which are not. 



28 



THEATRES AND PICTURE HOUSES 
SEATING CAPACITY OF VARIOUS HOUSES 



Name of Theatre 



Orches- 
tra 



Boxes 
_ and 
Loggias 



Balcony 



Gallery 



Total 



Academy of Music, Philadelphia . 
Academy of Music, Baltimore . . . 

Academy of Music, Chicago 

Alhambra, Milwaukee 

American, N. Y. City 

Amphion, Brooklyn, N. Y 

Auditorium, Chicago 

Auditorium, Philadelphia 

Auditorium, Minneapolis 

Baker, Rochester, N. Y 

Broadway, N. Y. City 

Boston, Boston, Mass 

Broad St., Philadelphia, Pa 

Broadway, Denver, Col 

Casino, N. Y. City 

Century, St. Louis 

Colonial, N. Y. City 

Colonial, Boston, Mass 

Columbia, Washington, D. C . . . 

Coliseum, St. Louis 

Empire, N. Y. City 

Garrick, N. Y. City 

Grand Opera House, Boston. 

Keith's, Boston, Mass 

Illinois, Chicago, 111 

Madison Square Garden, N. Y. . . . 

Majestic, N. Y. City 

Manhattan, N. Y. City 

New Amsterdam, N. Y. City 

Proctor's, 23rd St., N. Y. City 
Proctor's, 58th St., N. Y. City 
Proctor's, 125th St., N. Y. City . . . 

Pabst, Milwaukee, Wis 

Power's, Chicago, 111 

Park, Indianapolis, Ind 

Orpheum, New Orleans, La 

Shubert's, N. Y. City 

Shubert's, Boston, Mass 

Shubert's, Minneapolis, Minn . . . 

Shubert's, St. Louis, Mo '. 

Shubert's, Kansas City, Mo 



750 

780 
740 
655 

1672 

650 



631 
456 
560 
600 
750 
650 
600 



344 

586 
592 
384 



165 
74 
78 

100 

130 
70 
60 



586 
618 
601 
646 
650 



50 

50 
60 
32 



464 

750 

609 
419 

504 

350 



398 
502 
500 
565 
450 
552 
350 



248 

380 
460 

272 



400 
473 
379 
467 
423 



600 

800 
800 
568 

900 

700 



600 
536 
300 
433 
555 
368 
500 



218 

338 
652 
252 



361 
401 
451 
456 
411 



3100 
1710 
2450 
2495 
2400 
1716 
4200 
3044 
7000 
1800 
1700 
3172 
1629 
1624 
1360 
1600 
1750 
1653 
1350 

12000 
1100 
910 
2600 
2700 
1304 

12137 
1704 
1100 

1551 
4400 
3450 
2092 
1318 
2275 
2800 
1395 
1492 
1533 
1681 
1603 



THEATRES AND PICTURE HOUSES 



29 



PROSCENIUM ARCH. 

The proscenium arch is the opening between the stage 
and the auditorium. 

It varies in width according to the width of the house, 
and the height varies in proportion to its width. (See table.) 

The older houses have high arches; the modern houses 
have low arches. 

The arch is generally elaborately moulded and decorated, 
as this affords one place where the designer may spread 
himself. 

It is often studded with electric lights. 

The general angle of the proscenium arch is 45 degrees, 
but it may be carried back on the wall as far as desired and 
squared back on the stage a few feet and widened out over 
head as much as the designer desires. The wider the open- 
ing, the greater the distance required between side walls of 
the stage. It also requires a deeper stage. 40 ft. is considered 
a good width for the opening. 

There is no fixed proportion of height of proscenium arch 
to its width ; it may vary with the style of architectural treat- 
ment. If the opening is square or the height equal to the 
width, there is generally a permanent drapery hung outside 
of the curtain that reduces the height to a proper proportion. 
The proportionate widths and heights for the proscenium 
arch as recommended by the author are as follows: 

In a40 ft. house make (he arch about 24 ft. wide by 18 ft. high. 



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30 THEATRES AND PICTURE HOUSES 

The sounding board which surmounts the proscenium 
arch is often elaborately embellished and painted with 
appropriate scenes and figures. 

The primary object of the sounding board is, first, to 
reflect or transmit the voice ; second, to save excessive space 
aloft to be heated. 

PROSCENIUM CURTAIN 

All theatres where scenery is used on the stage should 
be provided with a fireproof curtain just inside of the pro- 
scenium wall, separating the auditorium from the stage. 
Asbestos and steel curtains are the most common in use. 

STEEL CURTAIN 

Steel fire curtains are sometimes used in the larger 
theatres to cover the proscenium opening. These are con- 
structed of sheet steel plates re-enforced with angle iron 
frames and overlap the sides of the opening about V/2 ft. on 
each side, running in channels or smoke grooves, and are 
suspended and operated similar to the asbestos curtains. 
These steel curtains have to be operated by special machinery 
on account of their height, t They are much more expensive 
than the asbestos curtain. 



THEATRES AND PICTURE HOUSES 31 

ASBESTOS CURTAIN 

Asbestos curtains should be made of asbestos cloth, with 
or without brass wire reinforcement, and should weigh not 
less than two pounds to the square yard. If possible the 
curtain should be so arranged that it may be raised straight 
up, or wall fashion, rather than to fold or roll. A curtain 
which goes up straight should be fitted with pockets at the 
top and bottom to take not less that 2^£" iron pipe battens 
and there should be rings or snap hooks at the sides for 
attachment to guide wires. 

The curtain should overlap the proscenium opening at the 
sides and top not less than 18" and iron smoke grooves should 
be installed on each side of the proscenium opening securely 
fastened to the walls. These smoke grooves should extend 
right up to the gridiron. The seams in an asbestos cloth 
curtain should run perpendicularly and all sewing done with 
pure asbestos sewing twine. Curtains are suspended by 
means of iron cables which run over sheaves on brackets 
securely bolted to the proscenium wall, the cables then turn- 
ing over a head block and being fastened to counterweights 
sliding in a track which will balance the curtain so that it 
may be raised or lowered by means of the manila rope hand 
line from either side of the stage or from the fly galleries. 
The curtain should outweigh the counterweights just enough 
to insure the automatic dropping of the curtain at the proper 
speed in the event of the hand line being cut in case of 
emergency. Good curtains are made by manufacturers that 
cover the laws of any state and they will set them up com- 
plete and in good working order. 









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34 THEATRES AND PICTURE HOUSES 

THE STAGE PROPER 

In thinking of your proposed new theatre, your mind must 
often revert to the really important part, the stage proper. 
In reality the audience sees but a small portion of a theatre. 
What goes on in the vast space above, beneath, behind and 
on either side of the stage? Are not the unseen regions of a 
theatre more interesting and important than those that are 
seen by the audience ? What a degree of curiosity is aroused 
in the theatre lover when the stage is mentioned — that mys- 
terious region to which access is denied to the unitiated, who 
would most willingly pay double price to penetrate the inner- 
most recesses of an opera house of the first rank — an estab- 
lishment, a tour of discovery behind whose scenes reveals all 
the resources of the modern stage; inasmuch as one finds 
there not only everything pertaining to a theatre, but also the 
numerous and varied contrivances which have been devised 
for the presentation of the modern production. Today much 
of this material is carried by the touring company, but a 
special line of mechanical contrivances needed for the proper 
putting on of these productions must be found in the local 
playhouse, or the best effects must be cut out, to the disap- 
pointment of the usual auditor and the displeasure of the 
more enlightened neighbor who may have seen the original 
production and who immediately proceeds to tell how much 
better the show was in New York. 

Younger ingenuity has grafted many improvements on 
European designs so that our opera houses of later years can 
show in stagecraft many improvements upon old established 
foreign theatrical construction. 



THEATRES AND PICTURE HOUSES 35 

The regions in which the labor of putting on a modern 
scenic production is performed as a veritable beehive of 
activity. They embrace, besides the stage proper, the rooms 
or the heads of the various departments, viz., stage carpen- 
ter, scenic artist, stage manager, musical director, property 
master, costumer and electrician. 

The stage, properly speaking, is that portion of a theatre 
which can be seen from the auditorium and the space on 
either side behind the proscenium arch, upon which the per- 
formers stand and upon which is placed framed scenery and 
"set stuff." The stage is usually divided width-wise into 
three parts. The side from which the curtains are worked 
and on which should be located the switchboard is called the 
prompt-side. The stage manager stands here, so as to be in 
easy and direct communication with the curtain man and 
electrician. Midway across the stage is the point designated 
as the "center of the stage," usually monopolized by the star 
and at which the novice looks with longing and only too often 
envious eyes. Then there is the opposite prompt-side or, as 
it is always called in theatrical parlance, the "O-P side." The 
depth of the stage is divided figuratively into "entrances," as, 
since flats running in the grooves have been discarded, there 
is, strictly speaking, but one pair of entrances, known as the 
"first prompt entrance," between the proscenium wall and 
the tormentor wing, and, corresponding with it on the oppo- 
site side, the "O-P first entrance." The first wings are known 
as tormentors, as they are usually built with a flipper, so as 
to hide the view "off stage" of those sitting in the boxes and 
front rows. 

All these divisions and their appellations hold good not 
only of width and depth, but also of height. For instance, 



36 THEATRES AND PICTURE HOUSES 

the O-P extends from the stage to the gridiron far above, a 
height from the floor of the stage of seventy feet or more, 
on which are attached the sheave blocks for running the lines 
that raise and lower the drops and borders, as described later. 

Everything above the proscenium arch is summed up in 
the term "flies," a word more frequently misused than any 
other theatrical term, and wrongly defined even in the prin- 
cipal dictionaries of the English language. The uninitiated 
almost invariably use this term in speaking of the strips of 
canvas painted to resemble sky, foliage, arches or the ceilings 
of interiors, suspended across the stage above the wings. 

These are the borders, and form but a small portion of 
the flies, which include the border lights (rows of electric 
incandescent bulbs running across the flies and illuminating 
the borders), innumerable ropes, cleats, pulleys, the beams to 
which they are attached, and the fly galleries on either side, 
from the lowest of which the drop scenes and borders are 
worked. These galleries vary in number according to the 
size of the house. Then, from the "prompt" side across to 
the O-P side stretch, a story higher, the beams already 
referred to. These in the aggregate have two names, accord- 
ing to the position of the person speaking of them. Looking 
upward from the floor of the stage he would call them the 
gridiron; standing on them he would speak of them as the 
rigging loft. The drops in large houses are about forty feet 
high, and as they are raised and not rolled up, the space from 
the top of the borders on a line with the first fly gallery to 
the gridiron is about eighty feet high, giving room for the 
drop, the prompt, center and O-P rope. 

While the floor of the stage runs from the footlights to 
the rear wall of the building, the entire depth is rarely 



THEATRES AND PICTURE HOUSES 37 

utilized, because a section extending about eight feet forward 
from the rear wall is reserved for the paintroom. The floor 
of the paintroom is a platform call the paint bridge, which 
extends across the stage and can be raised and lowered 
between the floor of the stage and the first fly galleries. The 
canvas to be painted having been hung in position so that its 
top is level with this gallery, the work of painting begins, the 
bridge being lowered as occasion requires. Frequently, how- 
ever, the canvas is hung on a frame working from pulleys from 
one of the gridiron beams and gradually lowered, the bridge 
remaining suspended between the prompt side of the first 
fly gallery and the O-P side, thus forming a convenient cross- 
ing from one side of the house to the other for those at work 
in the upper stories, who would otherwise have to descend to 
the stage floor, cross it, and ascend several flights of stairs 
on the other side. 

At the production of the play, the audience, comfortably 
seated, watches the performance unfold itself so smoothly 
that it suggests no idea of preliminary labor. This is as it 
should be. For, as an actor must cause the result of his art to 
seem nature itself, so the theatrical manager must cause the 
action and its scenic surroundings to appear the spontaneous 
product of the time in which drama or opera plays. We are 
apt to credit only the actor with the genius of simulating 
nature. As a matter of fact, the principle upon which he pro- 
ceeds governs every detail of a theatrical production. What 
the actor strives for, the manager, stage manager, scene 
painter, property master, master machinist, musical con- 
ductor, chorus and principal singers are striving for, and 
each in his respective department is endeavoring to simulate 
nature. I emphasize simulate because the simulation of 



38 THEATRES AND PICTURE HOUSES 

nature, as distinguished from the actual reproduction of 
nature, is the peculiar province of stage art. It is a fact that 
a real tree upon the stage looks less like a real tree from the 
auditorium than a tree painted upon a piece of canvas; and 
that with a bit of canvas and a little paint the scene painter 
can, at the expense of a few dollars, produce a Persian rug 
looking costlier and more like the real article than would an 
actual Persian rug costing a thousand dollars. What in real 
life would be an exaggeration becomes on the stage perfect 
simulation of nature; the actor's natural bloom would be 
ghostly pallor in the glare of the footlights, so that he is 
obliged to rouge his cheeks in order that their color may look 
natural. And as in this case the look of nature is produced 
by exaggeration, so it is with everything pertaining to stage 
art, voice, gesture, costume, scenery, "properties," light 
effect. They must all, so to speak, be rouged. A stage pro- 
duction, to be successful, must be prepared with this principle 
always in view. It can easily be traced through the work 
going on behind the scenes of an opera house. 

The stage in a regular playhouse built for the production 
of opera, drama or vaudeville has many special requirements. 

The stage should be separated from the auditorium by a 
fireproof wall, with fire doors and a fireproof curtain. 

This wall does not necessarily have to be of heavy brick 
construction, but may be built of steel and terra-cotta blocks, 
which take less room. The curtain should be kept lowered 
until just before the performance begins, and lowered again 
immediately afterward. It should be arranged at the sides 
and top so as to thoroughly seal the openings, when lowered, 
to prevent smoke from passing into the auditorium by having 
the curtain run in grooves at the sides. The curtain should 



THEATRES AND PICTURE HOUSES 39 

be heavy enough to withstand the extra air currents caused 
by fire. It is well that this curtain should be operated both 
from the stage floor and from the fly gallery. 



STAGE FLOOR 

The floor should be level. The rear part of the stage is 
called "up stage" and the front part, toward the footlights, 
is called "down stage." The working surface or that part 
of the stage on which the play is produced is usually built of 
wood, on account of the numerous traps required and the 
necessity of fastening scenery to the floor, but the construc- 
tion part may be of steel, while the sides of the stage, beyond 
the wings, may be entirely of fireproof material. 



APRON 

Do not make the apron of stage outside of the curtain line 
too wide. Three feet is plenty in any case, and in most cases 
less will do. It is better to make the front part of the stage 
straight, but a slight contour following the radius of the seats 
may be used if desired, and the corners or ends may be 
rounded off at sides. The footlights require a space of from 
18 to 20 inches in width and from 5 to 10 inches deep, and 
should be close to the curtain line, with no apron outside 
of footlights. One theatre expert claims that the footlights 
should be back of the curtain so that the stage director may 
see the light effects on the stage setting before the curtain 
rises. The actor should be kept well back from the footlights 
so as to get the best effects, otherwise there will be deep 




— 3ECT/ON "" v57V7<S-^r 



42 THEATRES AND PICTURE HOUSES 

shadows on his face. The older type of theatres have wide 
aprons; the newer houses have very narrow aprons or none 
at all. 



HEIGHT OF STAGE FLOOR 

The height of the stage floor above the main floor should 
be from 3 ft. 6 in. to 4 ft. 2 in., so as to have the top of the 
stage just below the level of the eye of the persons in the front 
row. The pitch of the auditorium floor somewhat regulates 
this variation in height. In halls where the floor is level the 
height of the stage should be from 3 ft. 8 in. to 4 ft. 8 in. 



WIDTH OF STAGE 

Do not make the stage any narrower than the auditorium, 
as all the space is needed on the stage, especially if the dress- 
ing rooms are to be located on the stage. 



DEPTH OF STAGE 

The depth of the stage should be at least equal to the width 
of the proscenium arch. Dressing rooms are generally 
located on each side of the stage, sometimes in tiers, one above 
the other, according to requirements. They may also be 
located in the rear if space permits, or underneath the stage. 
Never do any plastering on the walls or ceilings of the stage, 
except in the dressing rooms. Allow plenty of room on sides 
of stage between wings and the dressing rooms, 5 ft. or more. 



THEATRES AND PICTURE HOUSES 43 

SWITCHBOARD 

The switchboard is. always located on the right side of the 
stage (looking toward the audience). Leave at least 4 ft. 
between opening of proscenium arch and switchboard ; 6 or 8 
ft. is better. Sometimes the switchboard is set on the 
prompter's platform, which is set about 7 ft. above the stage 
floor. This leaves a clear passage to the first entrance with- 
out crowding the electrician in front of the board. 

FLY GALLERY 

The fly gallery is a stationary bridge or platform set a 
proper distance above the stage and is for the use of the fly- 
man who operates the drops, etc. This gallery runs from 
front to rear of stage and is from 3 to 8 ft. wide. 

They may be built of any type of construction that the 
architect wishes to design, as long as the results are accom- 
plished and the proper provisions made for handling the 
rigging. 

The fly gallery is always located on the same side of the 
stage as the switchboard. In some very large houses there are 
fly galleries on both sides and sometimes one above the other. 
They serve also as ties for the walls. 

The bottom of fly gallery should be about on a level with 
the top of the arch or about half way between the stage floor 
and the gridiron, or rigging loft, and never less than 24 ft. 
If it is a house that caters to traveling companies, it should be 
at least 27 ft. above the stage floor. 

The fly gallery is equipped with one or two pin rails made 
of steel tubing, one above the other, with belaying pins about 
8 in. apart on which to fasten all the ropes for manipulating 






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THEATRES AND PICTURE HOUSES 45 

the borders, drops, etc. A modern tendency is to place the 
pin rails on the stage floor near the side walls, as the scenery 
can be operated with fewer men and more promptly. 

In halls and small theatres the fly gallery may be dis- 
pensed with, working all drops, etc., from the stage floor with 
counterweights; this of course takes up more room on the 
stage. 

The face of the fly gallery should be at least 6 ft. back 
from the side of the arch to allow room for the draperies, 
drops, borders, etc. ; 10 ft. to 12 ft. is better in large houses. 
The grand draperies and borders often extend 5 ft. beyond 
the opening of the arch. Some large productions carry "drops 
40 to 50 ft. long. Drops should always be at least the full 
width of the arch. (See table of stage dimensions.) 

No grooves are used in the modern houses, as the various 
wings are made to stand alone, without bracing. 

GRIDIRON 

The gridiron or rigging loft is an open floor consisting of 
slats set 3 to 4 in. apart to allow the ropes to pass through 
for the drops, borders, etc., which pass over blocks or pulleys 
secured to the upper side of the slats. Three line sets are 
always required for scenery. Where the drops are over 45 ft. 
wide, there should oe four line sets. 

The slats should run from front to rear of stage and be 
stiff enough to bear the weight of men walking on them and 
well supported in the center and at each end or oftener, 
according to the span. The gridiron may be supported by 
steel girders running from wall to wall or may be suspended 
from its roof trusses, as desired. 



46 THEATRES AND PICTURE HOUSES 

The gridiron of course carries the weights of all flies, 
drops, border, border lights and anything that may be neces- 
sary to be suspended during any act. One hundred pounds 
per square foot live load is sufficient. The gridiron only need 
cover the working portion of the stage, or a trifle more than 
the width of the arch on both sides. (See Figs. 13, 14.) 

The gridiron should be twice the height of the proscenium 
arch above the stage plus about 5 ft., or high enough for all 
drops to pass up out of sight behind the borders and draperies 
with two or three feet to spare. There should be at least 3 ft. 
of space above the gridiron under the roof ; 6 ft. is better, as 
it allews full head room. 

There must be access to the fly gallery and gridiron by 
means of a stairway or ladder in some out-of-the-way corner. 
If ladders are used, they should be secured in place at the top 
and bottom. 

When only light vaudeville is put on, the height of the 
ceiling or roof over stage may be only 3 ft. above the arch to 
allow for the hanging of draperies, ceiling border, lights, etc. 
The curtain in this case would have to roll up. 




> 



^ 



V 



THEATRES AND PICTURE HOUSES 



49 



STAGE DIMENSIONS OF 


VARIOUS HOUSES 










Name of Theatre 


rsg 


03: 

■^ OS 

1* 

I"* 
3 S 

on 


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a 


Academy of Music, Philadelphia 


Ft. 
90 
80 
75 
76 
85 
78 
70 
100 
100 
75 
78 
64 
100 
75 
67 
60 
90 
91 
66 
62 
85 
100 
80 
82 
80 " 
70 
65 
85 
100 
67 
50 
80 
120 
60 
80 
70 
70 
100 
64 

72 
80 
76 
58 
100 
80 
72 
70 

100 
80 
81 
70 

100 
84 
81 
50 
55 
72 
90 
62 
76 
70 
70 
70 
80 
76 
73 
80 
69 
84 
65 


Ft. 
80 
52 
28 
73 
31 
56 
37 
40 
62 
27 
36 
35 
40 
43 
36 
38 
80 
25 
45 
36 
40 
40 
41 
49 
36 
45 
37 
37 
40 
30 
36 
27 
50 
28 
40 
36 
42 
40 
40 

50 
40 
33 
33 
39 
38 
43 
40 

76 
48 
33 
42 
46 
37 
34 
21 
31 
41 
38 
40 
40 
37 
36 
25 
40 
32 
36 
.43 
34 
34 
37 


Ft. 
50 
47 
30 
36 
44 
38 
30 
34 
47 
33 
78 
38 
34 
36 
35 
33 
50 
39 
32 
3(i 
36 
34 
38 
43 
35 
37 
35 
38 
34 
34 
30 
36 
40 
30 
36 
36 
35 
34 
35 
34 
38 
38 
33 
35 
37 
38 
44 
36 

54 
40 
34 
35 
42 
37 
40 
30 
30 
35 
32 
34 
34 
36 
32 
40 
32 
32 
36 
40 
38 

35 


Ft. 
50 
40 
30 
34 
55 
39 
30 
30 
34 
34 
36 
30 
30 
36 
35 
36 
48 
30 
31 

28 
30 
38 
43 
33 
40 
33 
35 
30 
33 
29 
31 
34 
30 
40 
38 
36 
30 
35 
34 
40 
35 
39 
28 
48 
34 
36 
36 

54 
36 
32 
38 
38 
36 
32 
28 
29 
32 
32 
36 
32 
37 
41 
39 
40 
35 
32 
30 
30 
25 
33 


Ft. 

31 

27 
30 

35 

26 
25 

30 

24 
28 
23 
35 
33 
28 
30 
25 

34 

31 

33 
31 
30 

30 

30 

35 
26 
30 
26 
32 
25 


Ft. 
73 
85 
60 
65 
70 
72 
60 
70 
90 
60 
42 
65 
70 
68 
75 
56 
70 
40 
68 

60 
70 
77 
70 
64 
78 
61 
75 
70 
69 
45 
56 
70 
55 
61 
66 
72 
70 
70 
59 
60 

(it; 
63 
60 
70 
71 

72 

98 
70 
80 
74 
80 
68 
63 

55 

70 

6i 

60 
68 
57 
70 
90 
71 
60 
68 
64 
60 
61 


Ft. 

10 
2 
4 
3 
4 
2 
3 

8 
3 
9 

1 

5 
4 
4 
10 
2 
4 
3 
7 

4 
3 
4 
3 
3 
3 

4 
3 
3 
3 
2 
8 
2 
2 

5 

5 
2 
3 
3 
4 
4 
4 
3 

13 
2 
3 
4 
3 
7 
4 
3 
2 
3 
2 
2 
5 
5 

9 
3 
3 
3 
2 
4 

3 


Ft. 
54 
56 

48 
60 
70 
47 
80 
90 
42 

46 
84 
52 
52 
45 
54 
52 
49 
44 
50 
80 
52 
61 
48 
45 
44 
51 
80 
50 
40 
44 

38 
44 
50 
50 
80 
50 
52 
45 
65 
48 
38 
70 
52 
56 
50 

77 
54 
60 
51 
58 
55 
60 
36 
42 
50 

4i 

44 
52 

50 

45 
50 
55 
53 
56 
44 


Ft. 

25 

9 




9 


Academy of Music, Washington, D. C. . . . 


10 
10 




16 


Amphion, Brooklyn, N. Y 


10 




18 


Auditorium, Philadelphia 

Auditorium, Minneapolis 


9 

6 

10 








15 




12 


Broad St., Philadelphia. . . . 


10 


Boston, Boston, Mass 


32 




27 




13 




10 


Colonial, New York City. . . 


12 


Colonial, Chicago, 111 






25 




9 


' Columbia, Washington, D. C 


16 








7 




8 






Empire, New York City 


9 


Empire Detroit, Mich 


8 




11 












10 
11 




14 


Klaw & Erlanger, Seattle, Wash 




Knickerbocker, New York City 


10 


Keith's, Boston, Mass 

Hollis St., Boston, Mass 


9 
12 


Lyric, New York City 


14 




16 




9 


Majestic. New York City 


10 


Majestic, Brooklyn, N. Y 


11 


Masonic, Louisville, Ky 

Metropolitan Opera House, New York 
City 


11 
10 

27 


New Amsterdam, New York City 

New Lyceum, New York City 


22 
30 


New York, New York City 


11 


Nixon, Pittsburg, Pa 






12 


National, Rochester, N. Y 


11 


New Curtis, Denver, Col 


15 


Park, Brooklyn, N. Y 


13 




8 


Payton's, Brooklyn, N. Y 

Power's, Chicago, 111 


18 

12 


Park, Indianapolis, Ind 


12 


Prospect, Cleveland, Ohio 


10 


Proctor's, 23rd St., New York City. . 
Proctor's, 58th St., New York City. . . 
Proctor's, 125th St., New York City 
Orpheum, New Orleans 


12 
15 
8 


Schubert's, St. Louis, Mo 




Schubert's, Boston, Mass. . . . 




Schubert's, Minneapolis, Minn 




Sohubert's, New York City 




Tourlain, New Orleans 


9 



50 THEATRES AND PICTURE HOUSES 

STAGE DOORS 

Besides doors for the actors or employees, trunks, etc., 
there should be a scenery door at least 4 ft. 6 in. wide and as 
high as the distance to the underside of the fly gallery, to 
admit the scenery to be carried in on end. This door may be 
made in two sections. 

PAINT BRIDGE 

In theatres where they paint their own scenery, a paint 
bridge is constructed across the back of the stage near the rear 
wall and supported from the gridiron or roof trusses, or may 
span from the fly galleries. This bridge may be either sta- 
tionary or made to raise and lower. They are usually made 
stationary with a space of from 12 in. to 20 in. between the 
bridge and back wall, and the frames for the scenery sus- 
pended and counterbalanced from the gridiron, so as to be 
raised or lowered at the will of the painter. Sometimes these 
paint frames are operated by a winch or bullwheel. Where 
this work is done on a large scale, it is better to provide a 
separate building or addition for it on account of the danger 
from fire caused by the painter's materials. 



THEATRES AND PICTURE HOUSES 51 

LIGHTING GALLERY 

In cases where large and spectacular effects are to be pro- 
duced, it is advisable to have a "lighting gallery" suspended 
just above the center of the proscenium arch, from which 
spot lights and other lighting devices may be operated above 
and directly in front of the stage setting to produce various 
lighting effects without casting shadows. 

SCENE DOCK 

In large houses where a large amount of scenery is used, 
there should be a scenery dock provided, also a property 
room. The dock may be at one side or in the rear of the stage 
or in adjoining wings. There should be an opening between 
the stage and the dock ; also an opening to the street or alley, 
5 ft. wide and 24 ft. or more high, so that wings may be 
brought in on end and not laid on the floor or on edge. These 
doors to be in two sections, one upper and one lower. The 
lower section may be double if desired, so that one part may 
be used for ordinary passage without opening the whole door. 

SKY-LIGHT 

The roof over every stage should be provided with a slid- 
ing or automatically opening sky-light to admit light to the 
stage and paint bridge, and for ventilating purposes, but prin- 
cipally for use in case of fire to allow smoke and gases 
to escape. This sky-light should be made to slide or open 
automatically, and also to be controlled by a hemp cord from 
the stage floor. 



52 THEATRES AND PICTURE HOUSES 

This sliding sky-light, together with the asbestos curtain, 
also controlled from the stage floor, provide a very good com- 
bination for the protection of the audience. Other types of 
sky-lights, such as hinged sides, may be used if desired. 
(See Fig. 12.) 

If metal ventilators are used in the roof, they should also 
have counterbalanced dampers operated by a cord that will 
readily burn in two in case of fire, and thus open the venti- 
lator. The size of the sky-light should be equal to about 10 
per cent of the area of the stage. 



EGRESS 

While the foregoing is for the benefit of the audience, safe 
means of egress must be provided for the stage hands at work 
on the fly gallery and rigging aloft, such as windows opening 
onto outside fire escapes or adjoining roofs. 



TRAPS 

The construction of the stage floor should be made in such 
a manner that traps may be taken up or cut through at 
desired points. Some of the most modern theatres in the 
large cities have a very elaborate system of traps, where the 
whole working part of the stage is supported on hydraulic 
jacks or other mechanical means and the whole or any section 
may be raised and lowered by simply removing a lever, but 
it is not necessary to go into detail on the matter. 





?* 



r/c/z. 



54 THEATRES AND PICTURE HOUSES 

FLOOR FINISH 

There are a number of plastic or composition floor sur- 
facing compounds that make a desirable floor finish, and may 
be applied over wood, metal or concrete, and by their use a 
sanitary cove or base may be constructed that may be readily 
kept clean. The writer has used, with very good results, a 
composition floor finish, known as "Marbleoid." It is light 
weight, fireproof, easy to walk upon and is as soft to the feet 
as a wood floor. It is not cold like concrete or tile. Being 
plastic, it will not crack on account of uneven settlement of 
the floors or the vibration of the building. It is made of 
several colors, principally red, buff and gray. These are fast 
colors. Other colors may be used for borders if desired, such 
as blue and green, although these latter colors will fade in 
time, on account of the character of the coloring pigments. 
These floors cost a little more per square foot than ordinary 
cement, but considerably less than tile. The seats may be 
readily fastened to this floor compound. The same materials 
may be used for wainscoting, etc. 

Ordinary concrete floors should be treated with some suit- 
able treatment to bind the surface and prevent dust from 
rising. 

Wood floors should be oiled with boiled linseed oil or some 
good floor compound at least once a year. 



^^J77f«j •A'7^ 



00 



^M77ki) ~t1^ 



56 THEATRES AND PICTURE HOUSES 

FLOOR LOADS 

The safe live load for all theatre floors should be equal to 
the following, per sq. ft. : 

Lobby and Corridors 100 

Stairways 100 

Auditorium 80 

Balcony 80 

Stage 250 

Scene Docks 100 

Property Rooms 150 

Gridiron 70 

Roofs 40 

CEILINGS 

The ceiling of the auditorium should not be made exces- 
sively high, as it requires much more heat to properly warm 
the building and renders it more difficult for the actor to be 
heard, as his voice is apt to be lost. 

There are many methods of constructing ceilings that do 
not require mentioning here. 

Plaster and metal are the most common methods used in 
finishing the undersurface of the ceiling. Plaster ceilings 
may be richly embellished with plaster ornamentators, paint- 
ings, etc. 

Metal ceilings may be made in beam and panel effects and 
may be rendered fire and soundproof by applying same over 
plaster boards or asbestos, or by filling a portion of the dead 
space with mineral wool. 




IV. AMERICAN THEATRE, CHICAGO, ILLINOIS 
Mahler & Cordell, Architects 



THEATRES AND PICTURE HOUSES 57 

ELEVATORS AND ESCALATORS 

Elevators have occasionally found a place in the theatre 
for transporting people to the balconies and galleries, but 
their intermittent service has made them not entirely feasible 
for this purpose. 

Within the last few years, however, the idea of using 
escalators or moving stairways to induce increased balcony 
and gallery patronage has gained considerable headway. 
There are now quite a representative number of theatres that 
have one or more escalators. Escalators have an advantage 
over the elevator for theatre use in that they have a much 
greater capacity; in other words, they will accommodate a 
much larger number of people within the same period of 
time. 

Escalators are frequently installed to afford direct trans- 
portation from lobby to balconies. They are practically noise- 
less, affording a constant, quiet means of carrying guests 
to seats in the upper portions of the house. They are made 
reversible so that they can operate upward before or during 
the performance and downward after the performance. 

The power costs of an escalator's operation approximate, 
under ordinary usage, $5.00 to $10.00 per month. 

Neither the elevator nor the escalator is at present con- 
sidered an exit under the law, serving only as a means of 
accommodating the patrons of the theatre. We believe, how- 
ever, that there would be less danger of congestion on an 
escalator than on a stairway. 



58 THEATRES AND PICTURE HOUSES 

PROJECTION ROOM OR MACHINE BOOTH 

The booth is one of the most important features of a pic- 
ture theatre, as it is here that the operator holds sway, and 
the operator is the man on whose ability depends largely the 
proper rendering of the play; therefore the theatre owner 
should provide everything requisite to facilitate the work of 
the operator. 

The booth must be made of fireproof materials and of 
sufficient size to provide plenty of working space. While the 
modern machines are virtually considered safe from danger 
of fire or accident, it is desirable, and in some states requisite, 
that the booth should be provided with a 12 in. ventilating 
tube or flue extending up through the roof or out through 
the front or side wall, as the case may be, to carry away any 
flames, smoke or gases caused by the machine, and the tube 
should be equipped with a 14 in. electric fan in a 16 in. x 16 in. 
box and always kept in motion while the operator is at work. 
It is desirable that a space should be provided at one end of 
the projection room about 2 ft. 6 in. or 3 ft. wide to be used 
as a rewinding room and made of the same materials as the 
booth and separated by a partition and an automatically clos- 
ing door. A non-combustible shelf for rewinding the reels is 
desirable ; also an electric light in the ceiling. 

It is not a good idea to do the rewinding in the booth on 
account of the possible danger from films catching fire, nor 
should extra films be stored in the booth. The booth should 
be mounted on a solid floor to avoid vibration, as this affects 
the picture. Where a booth is placed in the rear of a balcony 
of wood joist construction that has considerable overhang, 
the vibration caused by heavy persons descending the steps 
in the aisles will cause the machine to vibrate, so it is well to 



THEATRES AND PICTURE HOUSES 59 

brace this platform in every possible way from below or from 
roof trusses, whichever is the best available method. In steel 
or concrete balconies this is not necessary. The machine 
should be rigidly secured to the floor by wire braces and turn- 
buckles. 

If the legs of the machine are set in a box of sand or on a 
cork base, the noise from the machine will be deadened. The 
booths may be built of brick, concrete, terra-cotta, metal 
studs with metal lath and plaster, or asbestos lumber with a 
steel angle frame. If made of asbestos lumber, the boards 
should be y 2 in. thick, the steel angles l x /± in. x l 1 /^ in. x 3/16 
in., bolted together and properly braced. Some manufacturers 
make these booths in sections ready to ship and are readily 
bolted together on the job. They are made in standard sizes, 
and may be enlarged at any time by simply adding more 
sections. All booths must have air intakes at the bottom 
covered with wire mesh. 

The asbestos booths may be enclosed with studs, and lathed 
and plastered and made to harmonize with the rest of the 
house, but plaster cannot be applied directly on the asbestos 
lumber. 

Metal booths have practically nothing to commend them, 
except that the material, of course, is not combustible. They 
are likely to become "grounded" electrically, and act as sound- 
ing boards, increasing the noise of the operation of the pro- 
jecting machine. Cases are recorded where metal film reels 
have come in contact with frames of picture machines and 
walls of metal booths, causing short circuits and igniting the 
films. Also there is the hazard of shocking the operator. 
Despite these obvious disadvantages, sheet metal booths are 
specified in Maine and Texas, among other places. 



60 THEATRES AND PICTURE HOUSES 

Single machine booths should be 6 ft. wide and 8 ft. deep 
and 7 ft. high. Two machines require 9 ft. wide, 8 ft. deep and 
7 ft. high, and three machines require 12 ft. wide, 8 ft. deep 
and 7 ft. high. All above are for inside dimensions, with about 
3 ft. added for the rewinding room. All doors should swing 
outward and be self-closing and not over 2 ft. wide by at 
least 6 ft. high. 

The floor of the projection room must also be fireproof. 
If the booth rests on a wooden platform, it must be covered 
with asbestos lumber % in. thick. The openings in front of 
the booth for the projection and for the operator's view must 
have a self-closing shutter of heavy steel plate or asbestos 
to work in a metal groove or channel, and held open by strings 
or cord with fusible links, and arranged in series so that they 
may be instantly released when a fire starts in any part of 
the booth, or by the operator. 

The booth should contain a switchboard where the opera- 
tor may control the house lights. The house lights may also 
be controlled from the manager's office or from the stage if 
desired. 



THEATRES AND PICTURE HOUSES 



61 



Table For Film Projection 

Distance from Film to Screen 



Equiv. 
Focus in 
Inches 


15 
Ft. 


20 

Ft. 


25 

Ft. 


30 
Ft. 


35 
Ft. 


40 

Ft. 


45 
Ft. 


50 
Ft. 


55 
Ft. 


60 

Ft. 


65 
Ft. 


70 
Ft. 


75 

Ft. 


80 
Ft. 


2 


5.1 
6.9 


6.9 
9.0 


8.5 

11.3 


10.1 
13.7 


11.10 
15.10 


13.6 
18.1 


15.2 
20.4 


16.10 
22.7 


18.8 
24.10 


20.4 
27.2 


22.0 
29.5 


23.9 
31.8 


25.2 
33.11 


27.1 
36.2 


2V 8 


4.9 
6.4 


6.4 
8.6 


7.11 
10.7 


9.6 
12.9 


11.2 
14.11 


12.9 
17.0 


14.4 
19.2 


15.11 
21.3 


17.6 
23.5 


19.2 
25.6 


20.9 
27.8 


22.4 
29.10 


23.11 
31.11 


25.6 
34.1 


2M 


4.6 
6.0 


6.0 
8.0 


7.6 
10.0 


9.0 
12.0 


10.6 
14.1 


12.0 
16.1 


13.6 
18.1 


15.0 
20.1 


16.7 
22.1 


18.1 
24.1 


19.7 
26.2 


21.1 
28.2 


22.7 
30.2 


24.1 
32.2 


2V 2 


4.0 
5.5 


5.5 

7.2 


6.9 
9.0 


8.1 
10.10 


9.6 

12.8 


10.10 
14.5 


12.2 
16.3 


13.6 
18.1 


14.11 
19.11 


16.3 
21.8 


17.7 
23.6 


19.0 
25.4 


20.4 
27.2 


21.8 
28.11 


2% 


3.8 

4.11 


4.11 
6.6 


6.2 

8.2 


7.4 
9.10 


8.7 
11.6 


9.10 
13.2 


11.1 
14.9 


12.4 
16.5 


13.6 
18.1 


14.9 
19.9 


16.0 
21.4 


17.3 
23.0 


18.6 
24.8 


19.8 
26.4 


3 


3.4 

4.6 


4.6 
6.0 


5.7 
7.6 


6.9 
9.0 


7.11 
10.6 


9.0 
12.0 


10.2 
13.7 


11.3 
15.1 


12.5 
16.7 


13.6 
18.1 


14.8 
19.7 


15.10 
21.1 


16.11 
22.7 


18.1 
24.1 


3M 


3.1 

4.2 


4.2 
5.6 


5.2 

6.11 


6.3 

8.4 


7.3 
9.9 


8.4 
11.1 


9.4 
12.6 


10.5 
13.11 


11.5 
15.3 


12.6 
16.8 


13.6 
18.1 


14.7 
19.6 


15.7 

20.10 


16.8 
22.3 


33^ 


2.10 
3.10 


3.10 
5.2 


4.10 
6.5 


5.9 
7.9 


6.9 
9.0 


7.9 
10.4 


8.8 
11.7 


9.8 
12.11 


10.8 
14.2 


11.7 
15.6 


12.7 
16.9 


13.6 
18.1 


14.6 
19.4 


15.6 
20.8 


3% 


2.8 
3.7 


3.7 
4.9 


4.6 
6.0 


5.5 
7.2 


6.3 
8.5 


7.2 
9.7 


8.1 
10.10 


9.0 
12.0 


9.11 
13.3 


10.10 
14.5 


11.9 
15.8 


12.8 
16.10 


13.6 
18.1 


14.5 
19.3 


4 


2.6 

3.4 


3.4 
4.6 


4.2 
5.7 


5.1 
6.9 


5.11 
7.11 


6.9 

9.0 


7.7 
10.2 


8.5 
11.3 


9.3 
12.1 


10.2 
13.7 


11.0 

14.8 


11.10 
15.10 


12.8 
16.11 


13.6 
18.1 


4^ 


2.4 
3.2 


3.2 

4.3 


3.11 
5.3 


4.9 
6.4 


5.7 
7.5 


6.4 
8.6 


7.2 
9.7 


7.11 
10.7 


8.9 
11.8 


9.6 
12.9 


10.4 
13.10 


11.2 

14.11 


11.11 
15.11 


12.9 
17.0 


4K 


2.3 
3.0 


3.0 
4.0 


3.9 

5.0 


4.6 
6.0 


5.3 
7.0 


6.0 
8.0 


6.9 

9.0 


7.6 
10.0 


8.3 
11.0 


9.0 
12.0 


9.9 
13.0 


10.6 
14.1 


11.3 
15.1 


12.0 
16.1 


±K 


2.1 
2.10 


2.10 
3.9 


3.6 
4.9 


4.3 

5.8 


5.0 
6.8 


5.8 
7.7 


6.5 

8.6 


7.1 
9.6 


7.10 
10.5 


8.6 
11.5 


9.3 
12.4 


10.0 
13.4 


10.8 
14.3 


11.4 
1.5.3 


5 


2.0 
2.8 


2.8 
3.7 


3.4 

4.6 


4.0 

5.5 


4.9 
6.4 


5.5 

7.2 


6.1 
8.1 


6.9 
9.0 


7.5 
9.11 


8.1 
10.10 


8.9 
11.9 


9.6 

12.8 


10.2 
13.7 


10.10 
14.5 


5M 


1.11 
2.6 


2.6 
3.5 


3.2 

4.3 


3.10 
5.2 


4.6 
6.0 


5.2 
6.10 


5.9 
7.9 


6.5 

8.7 


7.1 
9.5 


7.9 
10.4 


8.4 
11.2 


9.0 
12.0 


9.8 
12.11 


10.4 
13.9 


5M 


1.10 
2.5 


2.5 
3.3 


3.0 
4.1 


3.8 

4.11 


4.3 
5.9 


4.11 

6.6 


5.6 
7.4 


6.2 

8.2 


6.9 
9.0 


7.4 
9.10 


8.0 

10.8 


8.7 
11.6 


9.3 

12.4 


9.10 
13.2 


5M 


1.9 

2.4 


2.4 
3.1 


2.11 
3.11 


3.6 
4.8 


4.1 
5.6 


4.8 
6.3 


5.3 
7.1 


5.10 
7.10 


6.5 

8.7 


7.0 
9.5 


7.8 
10.2 


8.3 
11.0 


8.10 
11.9 


9.5 
12.7 


6 


1.8 
2.3 


2.3 

3.0 


2.9 
3.9 


3.4 
4.6 


3.11 

5.3 


4.6 
6.0 


5.1 
6.9 


5.7 
7.6 


6.2 
8.3 


6.9 

9.0 


7.4 
9.9 


7.11 
10.6 


8.5 
11.3 


9.0 
12.0 


6M 


1.7 
2.2 


2.2 
2.10 


2.8 
3.7 


3.3 
4.4 


3.9 
5.0 


4.4 
5.9 


4.10 
6.6 


5.5 
7.2 


5.11 
7.11 


6.6 
8.8 


7.0 
9.5 


7.7 
10.1 


8.1 
10.10 


8.8 
11.7 


6^ 


1.6 
2.1 


2.1 
2.9 


2.7 
3.5 


3.1 

4.2 


3.7 
4.10 


4.2 
5.6 


4.8 
6.3 


5.2 
6.11 


5.8 

7.7 


6.2 

8.4 


6.9 
9.0 


7.3 
9.9 


7.9 
10.5 


8.4 
11.1 


6^ 




2.0 
2.8 


2.6 
3.4 


3.0 
4.0 


3.6 

4.8 


4.0 

5.4 


4.6 

6.0 


5.0 
6.8 


5.6 
7.4 


6.0 

8.0 


6.6 
8.8 


7.0 
9.4 


7.6 
10.0 


8.0 

10.8 


7 




1.11 
2.6 


2.5 
3.2 


2.10 
3.10 


3.4 
4.6 


3.10 
5.2 


4.4 
5.9 


4.10 
6.5 


5.3 

7.1 


5.9 
7.9 


6.3 
8.4 


6.9 
9.0 


7.3 
9.8 


7.9 
10.4 


7H 






2.4 
3.1 


2.9 
3.8 


3.3 
4.4 


3.8 

4.11 


4.2 
5.7 


4.8 
6.2 


5.1 
6.10 


5.7 
7.5 


6.0 

8.1 


6.6 

8.8 


7.0 
9.4 


7.5 
9.11 


7y 2 






2.3 
3.0 


2.8 
3.7 


3.1 
4.2 


3.7 
4.9 


4.0 
5.5 


4.6 
6.0 


4.11 

6.7 


5.5 
7.2 


5.10 
7.10 


6.3 
8.5 


6.9 
9.0 


7.2 
9.7 


7% 






2.2 

2.11 


2.7 
3.6 


3.0 
4.1 


3.6 
4.8 


3.11 
5.3 


4.4 
5.10 


4.9 
6.5 


5.3 
7.0 


5.8 

7.7 


6.1 
8.2 


6.6 
8.9 


7.0 
9.4 


8 






2.1 
2.9 


2.6 

3.4 


2.11 

3.11 


3.4 
4.6 


3.9 

5.1 


4.2 
5.7 


4.7 
6.2 


5.1 
6.9 


5.6 
7.4 


5.11 
7.11 


6.4 
8.5 


6.9 
9.0 


8^ 








2.4 
3.2 


2.9 
3.8 


3.2 
4.3 


3.7 
4.9 


3.11 
5.3 


4.4 
5.10 


4.9 
6.4 


5.2 
6.11 


5.7 
7.5 


5.11 
7.11 


6.4 
8.6 


9 








2.3 
3.0 


2.7 
3.6 


3.0 
4.0 


3.4 
4.6 


3.9 
5.0 


4.1 
5.6 


4.6 
6.0 


4.10 
6.6 


5.3 
7.0 


5.7 
7.6 


6.0 

8.0 


9^ 








2.1 
2.10 


2.6 
3.3 


2.10 
3.9 


3.2 
4.3 


3.6 
4.9 


3.11 

5.2 


4.3 
5.8 


4.7 
6.2 


5.0 
6.8 


5.4 
7.1 


5.8 

7.7 


10 








2.0 

2.8 


2.4 
3.2 


2.8 
3.7 


3.0 
4.0 


3.4 

4.6 


3.8 

4.11 


4.0 
5.5 


4.4 
5.10 


4.9 
6.4 


5.1 
6.9 


5.5 

7.2 



62 



THEATRES AND PICTURE HOUSES 



Table For Film Projection 

Distance from Film to Screen 



Equiv. 
Focus in 
Inches 


85 
Ft. 


90 

Ft. 


95 
Ft. 


100 
Ft. 


105 
Ft. 


110 
Ft. 


115 
Ft. 


120 

Ft. 


125 
Ft. 


130 
Ft. 


135 
Ft. 


140 
Ft. 


145 
Ft. 


150 

Ft. 


2 


28.10 
38.6 


30.6 
40.9 


32.3 
43.0 


33.11 

45.3 


35.7 
47.6 


37.4 
49.9 


















2V 8 


27.1 
36.2 


28.9 
38.4 


30.4 
40.6 


31.11 

42.7 


33.6 
44/9 


35.1 

46.10 


36.8 
49.0 
















2H 


25.7 
34.2 


27.1 
36.2 


28.7 
38.3 


30.2 
40.3 


31.8 
42.3 


33.2 
44.3 


34.8 
46.3 


36.2 
48.3 


37.8 
50.3 












2K 


23.0 
30.9 


24.5 
32.7 


25.9 
34.5 


27.1 
36.2 


28.6 
38.0 


29.10 
39.10 


31.2 

41.8 


32.7 
43.5 


33.11 
45.3 


35.3 

47.1 


36.7 
48.11 


38.0 
50.8 






2% 


20.11 
28.0 


22.2 
29.7 


23.5 
31.3 


24.8 
32.11 


25.11 
34.7 


27.1 
36.2 


28.4 
37.10 


29.7 
39.6 


30.10 

41.2 


32.1 
42.9 


33.3 
44.5 


34.6 

46.1 


35.9 
47.9 


37.0 
49.4 


3 


19.2 
25.8 


20.4 
27.2 


21.6 
28.8 


22.7 
30.2 


23.9 
31.8 


24.10 
33.2 


26.0 
34.8 


27.1 
36.2 


28.3 
37.9 


29.5 
39.3 


30.6 
40.9 


31.8 
42.3 


32.9 
43.9 


33.11 
45.3 


3M 


17.9 
23.8 


18.9 
25.0 


19.10 
26.5 


20.10 
27.10 


21.11 
29.3 


22.11 
30.7 


24.0 
32.0 


25.1 
33.5 


26.1 
34.10 


27.1 
36.2 


28.2 
37.7 


29.2 
39.0 


30.3 
40.5 


31.3 
41.9 


3K 


16.5 
22.0 


17.5 
23.3 


18.5 
24.7 


19.4 
25.10 


20.4 
27.2 


21.4 
28.5 


22.3 
29.9 


23.3 
31.0 


24.3 
32.4 


25.2 
33.7 


26.2 
34.11 


27.1 
36.2 


28.1 
37.6 


29.1 
38.9 


3H 


15.4 
20.6 


16.3 
21.8 


17.2 
22.11 


18.1 
24.1 


19.0 
25.4 


19.10 
26.6 


20.9 
27.9 


21.8 
28.11 


22.7 
30.2 


23.6 
31.4 


24.5 
32.7 


25.4 
33.9 


26.3 
35.0 


27.1 
36.2 


4 


14.5 
19.3 


15.3 
20.4 


16.1 
21.6 


16.11 
22.7 


17.9 
23.9 


18.8 
24.10 


19.6 
26.0 


20.4 
27.2 


21.2 
28.3 


22.0 
29.5 


22.10 
30.6 


23.9 
31.8 


24.7 
32.10 


25.4 
33.11 


4M 


13.6 

18.1 


14.4 
19.2 


15.2 
20.3 


15.11 
21.3 


16.9 
22.4 


17.6 
23.5 


18.4 
24.6 


19.2 
25.6 


19.11 
26.7 


20.9 
27.8 


21.6 
28.9 


22.4 
29.10 


23.1 
30.10 


23.11 
31.11 


4K 


12.9 
17.1 


13.6 

18.1 


14.3 
19.1 


15.0 
20.1 


15.10 
21.1 


16.7 
22.1 


17.4 
23.1 


18.1 
24.1 


18.10 
25.1 


19.7 
26.2 


20.4 
27.2 


21.1 
28.2 


21.10 
29.2 


22.7 
30.2 


m 


12.1 
16.2 


12.10 
17.1 


13.6 
18.1. 


14.3 
19.0 


15.0 
20.0 


15.8 
20.11 


16.5 
21.11 


17.1 
22.10 


17.10 
23.10 


18.6 
24.9 


19.3 

25.8 


20.0 
26.8 


20.8 
27.7 


21.5 
28.7 


5 


11.6 
15.4 


12.2 
16.3 


12.10 

17.2 


13.6 

18.1 


14.3 
19.0 


14.11 
19.11 


15.7 
20.9 


16.3 
21.8 


16.11 
22.7 


17.7 
23.6 


18.3 
24.5 


19.0 
25.4 


19.8 
26.3 


20.4 
27.2 


5M 


10.11 

14.7 


11.7 
15.6 


12.3 
16.4 


12.11 
17.3 


13.6 
18.1 


14.2 
18.11 


14.10 
19.10 


15.6 

20.8 


16.1 
21.6 


16.9 
22.5 


17.5 
23.3 


18.1 
24.1 


18.9 
25.0 


19.4 
25.10 


5H 


10.5 
14.0 


11.1 
14.9 


11.8 
15.7 


12.4 
16.5 


12.11 
17.3 


13.6 

18.1 


14.2 
18.11 


14.9 
19.9 


15.5 
20.7 


16.0 
21.4 


16.7 
22.2 


17.3 
22.11 


17.10 
23.10 


18.6 
24.8 


5M 


10.0 
13.4 


10.7 
14.2 


11.2 
14.11 


11.9 
15.9 


12.4 
16.6 


12.11 
17.3 


13.6 
18.1 


14.1 
18.10 


14.9 
19.8 


15.4 
20.5 


15.11 
21.3 


16.6 
22.0 


17.1 
22.10 


17.8 
23.7 


6 


9.7 
12.9 


10.2 

13.7 


10.9 

14.4 


11.3 
15.1 


11.10 
15.10 


12.5 

16.7 


13.0 

17.4 


13.6 
18.1 


14.1 
18.10 


14.8. 
19.7 


15.3 
20.4 


15.10 
21.1 


16.4 
21.10 


16.11 
22.7 


6M 


9.2 
12.3 


9.9 
13.0 


10.3 
13.9 


10.9 

14.5 


11.4 
15.2 


11.11 
15.11 


12.5 
16.8 


13.0 

17.4 


13.6 

18.1 


14.1 
18.10 


14.7 
19.6 


15.2 
20.3 


15.9 
21.0 


16.3 
21.8 


6^ 


8.10 
11.10 


9.4 
12.6 


9.11 
13.2 


10.5 
13.11 


10.11 
14.7 


11.5 
15.3 


12.0 
16.0 


12.6 
16.8 


13.0 

17.5 


13.6 

18.1 


14.1 
18.9 


14.7 
19.6 


15.1 
20.2 


15.7 
20.10 


6M 


8.6 
11.4 


9.0 
12.0 


9.6 
12.9 


10.0 
13.5 


10.6 

14.1 


11.0 
14.9 


11.6 
15.5 


12.0 

16.1 


12.6 
16.9 


13.0 

17.5 


13.6 

18.1 


14.0 
18.9 


14.6 
19.5 


15.0 
20.1 


7 


8.2 
11.0 


8.8 
11.7 


9.2 
12.3 


9.8 
12.11 


10.2 

13.7 


10.8 
14.2 


11.1 
14.10 


11.7 
15.6 


12.1 
16.2 


12.7 
16.9 


13.1 

17.5 


13.6 

18.1 


14.0 
18.9 


14.6 
19.4 


7M 


7.11 
10.7 


8.5 
11.2 


8.10 
11.10 


9.4 

12.5 


9.9 
13.1 


10.3 
13.8 


10.9 

14.4 


11.2 
14.11 


11.8 
15.7 


12.2 
16.2 


12.7 
16.10 


13.1 
17.5 


13.6 
18.1 


14.0 
18.8 


73^ 


7.8 
10.3 


8.1 
10.10 


8.7 
11.5 


9.0 
12.0 


9.6 
12.8 


9.11 
13.3 


10.4 
13.10 


10.10 
14.5 


11.3 
15.1 


11.9 
15.8 


12.2 
16.3 


12.8 
16.10 


13.1 

17.6 


13.6 
18.1 


7^ 


7.5 

9.ii 


7.10 
10.6 


8.3 
11.1 


8.9 
11.8 


9.2 
12.3 


9.7 
12.10 


10.0 
13.5 


10.6 
14.0 


10.11 
14.7 


11.4 
15.2 


11.9 
15.9 


12.3 
16.4 


12.8 
16.11 


13.1 
17.6 


8 


7.2 
9.7 


7.7 
10.2 


8.0 
10.9 


8.5 
11.3 


8.10 
11.10 


9.3 
12.5 


9.9 
13.0 


10.2 
13.7 


10.7 
14.1 


11.0 
14.8 


11.5 
15.3 


11.10 
15.10 


12.3 
16.5 


12.8 
16.11 


8K 


6.9 
9.0 


7.2 
9.7 


7.6 
10.1 


7.11 
10.7 


8.4 
11.2 


8.9 
11.8 


9.2 
12.3 


9.6 
12.9 


9.11 
13.3. 


10.4 
13.10 


10.9 
14.4 


11.2 
14.11 


11.6 
15.5 


11.11 
15.11 


9 


6.4 
8.6 


6.9 
9.0 


7.1 
9.6 


7.6 
10.0 


7.11 
10.6 


8.3 
11.0 


8.8 
11.6 


9.0 

12.0 


9.5 
12.6 


9.9 
13.0 


10.2 
13.7 


10.6 

14.1 


10.11 

14.7 


11.3 
15.1 


9K 


6.0 
8.1 


6.5 
8.6 


6.9 
9.0 


7.1 
9.6 


7.6 
10.0 


7.10 
10.5 


8.2 
10.11 


8.6 
11.5 


8.11 
11.11 


9.3 
12.4 


9.7 
12.10 


10.0 
13.4 


10.4 
13.9 


10.8 
14.3 


10 


5.9 

7.8 


6.1 

8.1 


6.5 

8.7 


6.9 

9.0 


7.1 
9.6 


7.5 
9.11 


7.9 
10.4 


8.1 
10.10 


8.5 
11.3 


8.9 
11.9 


9.1 
12.2 


9.6 
12.8 


9.10 
13.1 


10.2 
13.7 



Table furnished by Nicholas Power Co. 



THEATRES AND PICTURE HOUSES 63 

SCREENS 

In vaudeville houses sometimes used for pictures and not 
having a permanent screen on the rear wall, a portable screen 
is made by stretching muslin on a frame of wood or iron with 
the seams running horizontally and with as few as possible, 
and then painted to make it opaque with three coats of flat 
white paint free from gloss. If sprinkled while wet with 
aluminum dust or powdered glass, it will give a metallic finish 
and will greatly improve the brilliancy of the picture. This 
curtain may be hoisted up to the rigging loft out of the way, 
or if it is rolled it should be properly weighted on the bottom 
and stretched smoothly to avoid shadows and be free from air 
currents that would cause wrinkles. 

Good screens are made by plastering directly on the rear 
wall of stage and finished with a white coat of "Plaster of 
Paris," but must be carefully troweled and free from streaks 
and scratches. It may then be painted with three coats of flat 
zinc white and powdered if desired. Do not use gloss paint 
or enamel. 

Notes — The proportionate size of a screen is about three- 
fourths of the width to height. (See tables.) 

The glass screen is probably the best type of screen that 
may be used for picture projection. It is really a plate glass 
mirror with silvered or gold back and ground surface. The 
reflected surface adds to the brilliance and clearness of the 
picture. They are made in very large sizes, but are sometimes 
made in two parts, but the joint in the glass shows and is dis- 
pleasing on that account. This must be fixed in a stationary 
position and be free from dampness that would injure the 



64 THEATRES AND PICTURE HOUSES 

silvering. Mirror screens cannot be used successfully in a 
house over 50 ft. wide. 

After the lights have been turned onto the screen, giving 
the size of the picture, paint a border outside of the picture 
all around with dead black. This improves the picture 
greatly. 

If a deep border or shadow box be built around the screen, 
about 6 ft. wide or more, and on an angle of about 45 degrees, 
so as not to obstruct the vision, the picture will be further 
improved. 

LENSES AND FOCUSING 

Lenses are to-day made to a very high degree of perfection, 
and are made for almost any distance and for any size screen. 
If the proper lenses are used, the picture will be free from 
"ghosts" or color fringes, and the edges of the pictures will 
be as sharp and clear as the center of the picture. 

As conditions are different in nearly every theatre as to 
"length of throw," the position of the machine relative to the 
screen, the angle of the axis of the projecting light, etc., it is 
necessary in ordering a lens to give the correct distance from 
the machine to the screen, the angle of the center line of light, 
if not directly in the center of the same, and also the angle at 
one side or the other. 

At a given distance from the screen the shorter the focus 
of the lens the larger the picture will be, and the longer the 
focus the smaller the picture will be. The larger the picture 
is, the less brilliancy by a given number of amperes, and 
larger pictures are coarser, and show up the defects more 
than in smaller pictures. For the average house a medium 
size, clean-cut picture is the best. A 9 ft. by 12 ft. picture is 






THEATRES AND PICTURE HOUSES 65 

a good size. A 12 ft. x 16 ft. is as large as is generally neces- 
sary, but these sizes may be varied either larger or smaller 
if the conditions require it. 

From the following tables may be obtained : 

The length of lens required to give a desired size picture 
when the "throw" is known, and 

The size of picture given by a certain lens when the 
"throw" is known, and 

The length of "throw" required to obtain a desired size 
picture with certain lens. (See tables.) 



66 THEATRES AND PICTURE HOUSES 

SCENERY 

The tormentors are the first wings set on each side of the 
proscenium opening, and are set 5 ft. back from the fire cur- 
tain line and consist of three pieces, two folding and one 
flipper, which returns to the proscenium wall to hide the 
view from the opposite boxes and the front seats to the sides 
of stage. The flipper should have a door. The tormentors 
should extend about 3 or 4 ft. past the opening toward the 
center of the stage and should be from 18 to 20 ft. high, and 
are generally painted in drapery designs to harmonize with 
the overhead grand drapery border. The grand drapery 
border which comes just in front of the tormentor is arched 
out in the center for a space of about 6 ft. on the average. The 
ends of the grand drapery should extend about 6 ft. past the 
edge of the proscenium arch on each side and then turn for- 
ward to the proscenium wall, in order to mask the open awk- 
ward space that is often seen from the first row of the 
orchestra seats. The valance or permanent border is located 
just inside of the fire curtain, lapping well on both sides of 
the arch. The floor of the stage may be covered with either 
ground cloth or a baize extending about 6 ft. on each side 
of the proscenium arch. This ground cloth may be painted 
in aniline dye, brown on one side and green on the other, or 
it may be brown baize on one side and green on the other. 
The average stage and settings are made in a number of 
pieces, from 9 to 16, according to the size of the stage to be 
dressed. 



THEATRES AND PICTURE HOUSES 67 

Modern interiors are rarely built more than 16 ft. high, 
each wing being 18 ft. x 5 ft. 9 in. The doors and arches 
may be painted scenery, but in the more elaborate stage set- 
tings they are built with raised architraves and jambs, show- 
ing a reveal, the door being set back in the scene about 12 in. 
deep. Regular solid paneled wood doors are often provided, 
as the modern stage calls for a realism that is not found 
in the old-fashioned canvas door. The drops, consisting of 
the picture sheet, conservatory, olio and street scene, are 
made of the same size as the width of the proscenium arch, 
and are then hung as close to the grand drapery border as 
possible, as they are called "Drops in One." 

They are used only for light acts which uses the 5 or 6 ft. 
of space between the footlights and the tormentors. Various 
wings and set pieces are used to make the sides of the stage. 
The height of these drops are generally a little more than the 
distance from the stage floor to the underside of the drapery 
border, or in the average house running from 21 to 27 ft. back 
of the "Drops in One." The object of the "Drops in One" 
being to permit changes of scenery without interfering with 
the procedure of the play. 

Many architects and theatre owners are giving close atten- 
tion to the dressing of the stage for moving pictures. The 
time has gone by when the public was satisfied with a plain 
picture sheet painted on a drop or with a mere screen with a 
border around it, and are becoming more elaborate in their 
stage settings. In houses where the stage is used for pictures 
only, the settings can be made of a permanent nature and only 
need be disturbed when they are replaced by a new setting, 
perhaps once or twice a year, and are arranged in such a way 
as to allow the orchestra to be seated on the stage in front 



68 THEATRES AND PICTURE HOUSES 

of the picture screen, also allowing for the appearance of con- 
cert singers from time to time during the performance. In 
this case the screens are generally set considerably above the 
stage floor, which in turn requires more height under the 
front of the balcony to allow a good view from the rear seats. 
There is an unlimited amount of suggestions that might be 
offered in making permanent stage settings for picture 
houses, such as arches, peristyles, columns, cornices, etc., all 
of which may be built of wood with deep recesses, etc., and 
backed up with scenery representing gardens, distant hills 
and other appropriate designs. A fountain with running 
water may be placed in the center of the stage in front of the 
orchestra; also statuary, urns and flower boxes with arti- 
ficial flowers, etc. The wiring effects of these permanent set- 
tings are often made quite elaborate for the reason that they 
are permanent and, being once adjusted, the lights and wiring 
do not have to be disturbed. It is well, therefore, for the 
architect to bear in mind in planning picture houses to equip 
the stage with a gridiron, fly-gallery, etc., just as carefully 
as he would for a stage on which regular plays are to be 
produced. 



THEATRES AND PICTURE HOUSES 



69 



AVERAGE SCENERY EQUIPMENT— LOCATION AND 

PLACING 



FRONT PIECES: 

Asbestos Curtain 
Act Drop Curtain 
Proscenium Border 
Grand Drapery Border 
Working Drapery Border 
Profile Tormentor Wings 
Picture Sheet 
Conservatory Drop 
Olio 
Street 

PALACE INTERIOR: 

Back Drop 

Cut Drop 

Arched Borders 

Profile Wings and Flippers 

Leg Drops (instead of Borders 

and Wings) 
Balustrades 

LIGHT AND DARK FANCY 
INTERIORS: 

Center Arch Piece 

Arched Piece with Double Doors 

Bay Wing 

Door Wings 

Jogs 

Wings, including one with fire- 
place panel 

Set Fancy Backings 

Hanging Fancy Backing 

Borders or Ceiling 

Practical Fireplace 

Fireplace Backings 

PLAIN CHAMBER INTERIOR: 
Arched Piece 

Wings, including one with fire- 
place panel 
Door Wings 



Window Wing 

Bay Window 

Jogs 

Set Backings 

Hanging Backing 

Borders or Ceiling 

Practical Fireplace 

WOOD EXTERIOR: 

Light Wood Drop 

Cut Wood Drops 

6 Profile Wood Wings with 

Flippers 
3 Foliage Borders 
Foliage Leg Drops 
Set House (with practical door 

and window) 
Porch 

Platform and Steps 
Rustic Cottage 
Cut Tree Tab 
Profile Set Tree 
Garden Drop 
Profile Vases 
Profile Statues 
Rocky Pass Drop 
Horizon Drop 

KITCHEN INTERIOR : 

Window Wings 
Window Pieces 
Door Wings 

Wings, including one with fire- 
place panels 
Jogs 

Set Kitchen Backings 
Borders 
Practical Fireplace 

PRISON INTERIOR painted on 
the back of Kitchen Interior 



70 THEATRES AND PICTURE HOUSES 

THEATRE FIRES 

Statistics show that the greatest percentage of fires in 
theatres start after the performance is over and the house 
closed for the night. Many fires, of course, start before and 
during the performance, but on account of the watchfulness 
of the employees the fires are extinguished before any mate- 
rial harm is done. 

Most fires start on the stage, in the dressing rooms, or in 
the boiler room, and are caused by cigarettes thrown around 
the dressing rooms or among the scenery, defective electric 
wiring, leaky gas pipes, carelessness of matches, the discharge 
of firearms, defective flues or spontaneous combustion of 
waste paper, oil or paints. 

It is a good plan to keep the audience informed either by 
programs, signs, slides on the screens or by announcements 
from the stage, that the house is amply provided with all 
means of safety, such as fireproof curtain, fire walls, fire 
extinguishers, watchmen on stage, frequent inspections, etc. 
The audience will appreciate this. 

A theatre of inferior construction, if provided with ample 
exits so that the audience may emerge quickly and safely is 
more desirable than a thoroughly fireproof building which 
lacks those features. Remember there is more danger in a 
theatre from panic than from fire. 



THEATRES AND PICTURE HOUSES 71 

PANICS 

There is nothing that so arouses the instinct of self -con- 
servation as the cry of "Fire," and this instinct in the face of 
great danger is the cause of panic. Not many of us have 
actually experienced such danger, but descriptions and illus- 
trations in newspapers and periodicals so vividly present to 
our imagination the details of past fire horrors that our fear 
is none the less acute. 

This universal fear has resulted in the spread of panic and 
injury and death of persons by physical violence despite the 
fact that the fire itself was small and not destructive. 

Panics are more to be feared in a theatre than fire. True, 
many panics are caused by fire, but many other causes also 
contribute. A panic may be just as disastrous in a fireproof 
building as in a cheaply constructed wooden building. 

Panics are generally caused by some excited or highly 
nervous person, and for no good reason other than sudden 
fright caused by some fire scene on the stage, a loud noise, 
blowing out of a fuse, the darkening of the house without 
notice, the sudden lighting of footlights, the noise of passing 
fire engines on the outside, a thunder storm, a breaking of c. 
seat, a sudden commotion in the auditorium, or other causes. 

When a panic occurs, some one is bound to be injured or 
killed, no matter how many exits are provided. This would 
even apply to an open lot or park where a great crowd was 
congregated. Therefore, if the usual number of exits are 
provided, with doors opening outward, if the stairs are of 
proper width and free from windows or too many turns, 
unobstructed aisles, seats well secured to floor, proper lights, 
etc., the responsibility of the house ceases. Get the audience 
accustomed to use all the exits. 



72 THEATRES AND PICTURE HOUSES 

FIRE DRILLS 

Fire drills should be instituted for the employees, so that 
in case of emergency each man will know the duty he has to 
perform. 

Fire alarm boxes should be installed at various parts of 
the house, and connected to the central station. If this is not 
done, notice should be posted, and each man should be in- 
structed as to the location of the nearest fire alarm box, 
hydrants, fire extinguishers, etc. 

BUILDING CODES 

Most cities where they have any building codes at all 
require very similar conditions relative to exits, width of 
stairs, spacing of seats, fireproof construction, open courts 
on each side, the number of exits on each side from each 
floor, fire curtains, the construction of the flies and gridiron, 
the stage, skylight and vents, dressing rooms in a separate 
section separated by fireproof walls, boiler rooms, outside 
of building, standpipes and hose, sprinkler systems, width of 
aisles, methods of controlling lights, stepping off balcony, 
construction of booth, floor loads, false arches and number of 
seats between aisles. 

State of Ohio laws require projection machines to be 
hand driven. 

Pennsylvania laws do not allow balconies in picture 
theatres. 

Pennsylvania laws require mechanical ventilation. 

New York City laws admit the use of dressing rooms in 
the fly galleries. 




V. LOEWS NATIONAL THEATRE, 149TH ST. AND THIRD AVENUE, 

NEW YORK CITY 

H. C. Severance and Neville & Bagge, Architects 



THEATRES AND PICTURE HOUSES 



73 



TABLE OF COMPARATIVE LAWS OF VARIOUS CITIES 



Fireproof construction 
where capacity exceeds . . 

Minimum width of courts 
required both sides 



Minimum width of exits. . . 
Minimum width of aisles at 

start with seats on both 

sides 

Minimum width of aisles 

with seats on one side. . . 
Spacing of seats B to B . . . . 

Width of seats C to C 

Limit of pitch of floor 

Fire curtains required 

where scenery is used. . . 
Boilers permitted under 

building 

Stepping of balcony not to 

exceed 

Stage skylight and vent re- 
quired 

Stand pipes and sprinklers 

required 

Fire extinguishers required. 

Live loads on floors 

Live loads on stairs 

Number or seats allowed 

between aisles 

Number of exits required 

on each side of each floor. 
F. P. paint required on 

scenery and woodwork . . 
Cross aisle required for each 

bank of 



100 
lO'-O" 

5'-0" 

3'-0" 

3'-0" 
32" 

Yes 

No 

21" 

Yes 

Yes 
Yes 
100 
125 

13 

2 

Yes 



500 
lO'-O" 

4'-0" 

2'-6" 

2'-6" 
34" 
20" 

U'-y 

Yes 
Yes 

Yes 

Yes 
Yes 
100 

13 
2 

Yes 

15 
rows 



500 

lO'-O" 
one 
side 
5'-0" 



4'-0" 

3'-6" 
30" 
19" 



Yes 
Yes 



Yes 



100 
150 



13 
2 



500 
6'-0" 

5'-0" 

2'-6" 

3'-0" 
30" 

i"-V' 

Yes 
Yes 
21" 
Yes 

Yes 

Yes 
125 
150 

13 

1 

Yes 



100 

6'-0" 
one 
side 



3'-6" 

3'-0" 
30" 
20" 



Yes 

Yes 

14" 

Yes 

Yes 
Yes 

13 



100 
8'-0" 



4'-6" 



3'-0" 



2'-6" 
32" 



Yes 

No 

22" 

Yes 

Yes 
Yes 
100 

13 

1 

Yes 

22 
rows 



100 

6'-0" 

5'-0" 

2'-6" 

2'-0" 
30" 

i'-'r 

Yea 
No 

Yes 

Yes 
Yes 
125 

13 

1 

Yes 



500 



5'-0" 



3'-0" 



2'-6" 
32" 



Yes 
No 



Yes 

Yes 

Yes 

90 

100 

13 

2 

Yes 



750 
4'-0" 

5'-0" 

2 '-6* 

2'-6" 
32" 

Yes 

No 

21" 

Yes 

Yes 

Yes 

75 

100 

13 

1 



20 

rows 



500 
7'-0" 

5'-0" 

3'-0" 

2'-6" 
32" 

Yes 

Yes 

21" 

Yes 

Yes 
Yes 
125 

13 
2 



500 
5'-0" 

4'-0" 

3'-0" 

2'-0" 
32" 

Yes 

No 

21" 

Yes 

Yes 
Yes 
125 

13 

2 

Yea 



LIST OF STATES 

Having established laws relative to theatres. 

Pennsylvania Kansas 

Mississippi California 

Illinois Ohio 

Other states have no laws at all or have the matter in 
the hands of the Factory or Labor Commissioners, Chief of 
State Police or similar officials, with discretionary powers, 
or with the various municipalities. 



74 THEATRES AND PICTURE HOUSES 

DECORATIONS 

Plaster relief ornaments need no particular introduction 
to architects and decorators as this methods has been in use 
for many centuries in European countries. 

Many buildings of all classes in the country are richly 
ornamented by the use of this material. It is made in plaster 
for interior and of cement composition for exterior work, 
and is one of the most pliable and least expensive methods 
of decoration. 

The various concerns that make this material employ 
experts in design and modeling and are capable of executing 
any style desired in addition to the multitude of stock 
designs. 

Fibrous plaster casts are generally finished on a backing 
of cheesecloth or on a solid background, and are easily applied. 

ARCHITECTURAL TERRA COTTA 

The use of terra cotta for exterior decorative features 
has developed wonderfully in this country in the last fifty 
years. It can be worked into wonderful designs, is fireproof 
and has many beautiful shades such as grays, buff, reds, 
browns in warm tones and also in mottled and spotted effects, 
as well as white glazed. It is much cheaper than stone for 
trimmings, decorations, belt courses, etc., as many pieces 
may be duplicated from one mould, is easily set and secured 
in place, being light in weight it is easily handled and 
does not require heavy hoisting machinery. All pieces are 
assembled at the factory and fitted and numbered according 
to a working drawing. 



THEATRES AND PICTURE HOUSES 75 

HEATING 

There are various methods of heating a theatre, and while 
it is not the intention of the author to go into elaborate details 
on the matter of heating, he will, however, make a few timely 
suggestions as a guide for the architect to follow. 

The problem of heating a theatre is different from any 
other type of building, on account of its peculiar features 
and the conditions to be met. Successful and proper heating 
in this character of building requires great care and skill on 
the part of the designer. There are more draughts in a 
theatre building than one of any other kind on account of 
the various differences in heights, slope of the floors, pockets 
under balconies, excessive heights of stage, etc. 

Large theatres are generally heated by mechanical 
methods of either one of the two systems — the upward or 
the downward system. 

In the upward system the heated air is admitted into the 
room through numerous small openings in the floor, under 
the seats, and similar small openings along the balconies, the 
heated air coming from plenum chamber in the basement. 
The air from the auditorium is then drawn out at the ceiling 
through exhaust ventilators operated by fans. Direct radi- 
ation is placed in the lobby, stage and other required 
places. 

The downward system consists of admitting the heated 
air at the high point of the room through ducts in the walls 
and drawing it out at the low point near the floor, similar 
to the system used in schools, and these flues should be pro- 
vided with exhaust fans or else have coils of steam pipes 
inserted in shafts to create an upward draft. The house may 



76 THEATRES AND PICTURE HOUSES 

be heated more quickly if a circulating system is adopted 
that will draw the cold air out of the auditorium at the lowest 
point of the floor and back into the heating chamber, with 
all ventilators closed. This will allow the heat to enter more 
readily and heat the house more quickly. When the 
audience has assembled the ventilator should be opened and 
the lower opening closed. Theatres do not require as much 
heat as most buildings of other kinds, as the people enter 
from the colder temperatures outside and are warmly 
dressed, and the audience, when fully assembled and the 
doors are closed, will give off bodily heat enough to raise 
the temperature almost 10 degrees. 

The laws and ordinances of some states and cities specify 
the kind of heating and ventilating to be used in theatres 
and state the amount of fresh air per person to be admitted 
per hour. An expert should be consulted in all large theatres 
in order to get the best results. 

Small theatres and picture houses are generally heated 
by a direct system composed of radiators or coils placed 
along the sides and sends at suitable points. (See article on 
"Ventilation.") 

After the location of the boiler room has been determined 
as to its availability and accessibility for getting in coal and 
the removal of ashes, etc., and the proper depth established 
to give the proper pitch for the feed and return pipes, the 
next thing to be considered will be the proper distribution 
of heat. It is natural to assume that the coldest part of the 
house will be the lowest part of the floor near the orchestra. 
It is here that all draughts caused by the opening of the 
entrance doors will center, because when the doors are con- 
tinually being opened as the people assemble, the cold air 



THEATRES AND PICTURE HOUSES 77 

admitted from the source will follow along the floor and 
settle at this low point. Therefore, this point is to be pro- 
vided for to a certain extent by placing radiation along the 
curtain wall under the stage in the orchestra pit if there 
be one, but not enough to make the orchestra uncomfortable. 

If the lobby and the rear of the auditorium near the 
entrance is amply provided with heat it will greatly tend to 
guard against the cold from going to the orchestra pit. 
Therefore, provide plenty of heat at the entrance. 

When the curtain rises at the opening of the performance 
there is generally a cold draught that comes from the stage 
and strikes the audience in the face, so that it is necessary 
to provide against this. It is not necessary to heat the stage 
to any great extent to overcome this, because the heat would 
rise to the roof anyway and thus drive the cold air down. 
A coil along the back wall on the two side walls and a coil 
along the front of the fly galleries is desirable. The actors 
do not care for an excessive amount of heat except in dress- 
ing rooms and such rooms as may be occupied by the stage 
hands, but to take care of the cold draught, as before stated, 
it is well to provide a flue or shaft, say 24"x24", or some 
similar area at each side of the proscenium arch and back 
of the curtain, with an opening into the flue near the floor 
of stage, this flue to extend to the upper part of the stage or 
within a few feet of the roof. Each flue is to be equipped 
with a coil of heating pipes above the bottom opening. This 
will draw the cold air off the stage floor and keep it in circu- 
lation without allowing it to accumulate near the curtain 
ready to strike the audience when the curtain rises. The 
plan will produce wonderful results, and is well worth the 
little extra expense in construction. The flue, of course, 



78 THEATRES AND PICTURE HOUSES 

should be fireproof. The size of coils will depend on the 
size and height of the stage, and other conditions. 

Coils so inserted is by no means lost radiation because it 
is doing much to temper the atmosphere on the stage, and it 
is better to make the radiation ample rather than under- 
estimate it. 

The balcony and gallery generally require little or no 
heat except in special cases, because the heat rising from the 
auditorium will take care of the upper part of the house. 

HEATING NOTES 

No floor registers should be allowed as they collect dust. 

No radiator should be located in the aisle that will 
obstruct passage. They may be recessed or set on walls 
above the shoulder. 

VENTILATION 

It is not the intention of the author to treat extensively 
on the matter of ventilation as that would require a book in 
itself, and is a subject that is well handled by ventilating 
experts, but I will state briefly that some suitable means of 
ventilation should be provided. 

Of course, the more elaborate and costly the house the 
more may be expended on mechanical methods of ventilation 
if desired by the owners. 

One thing to avoid, though, is not to make the openings in 
the ceiling of the auditorium greater in area than the area 
of the stage ventilator as it will have a tendency to draw the 
fire and smoke from the stage into the auditorium. The 



THEATRES AND PICTURE HOUSES 79 

stage ventilator, being higher, will, all things being equal, 
draw smoke and fire that way. All ventilators should be 
under control at convenient points on the stage to be operated 
according to conditions and location of fire. 

Artificial means of theatre ventilation are not compulsory 
in any state as far as the knowledge of the author is con- 
cerned, provided there are windows or ceiling ventilators 
and fans sufficient to do the work. 

Several of the larger cities have ordinances concerning 
ventilation. There are a number of ways to provide artificial 
ventilation without requiring special mechanical methods and 
to do the work nicely and cost practically nothing to install. 
The sound of the human voice on the stage is intended to 
travel to all parts of the house ; therefore, do not design any 
system of ventilation that will obstruct the sound travel by 
downward or cross currents of air, but on the other hand it 
should be designed to assist the voice. Thus it is obvious 
that the logical point from which to exhaust the foul air is 
at the highest point of the ceiling and in the rear over the 
balcony. Any ventilating system acting to the contrary will 
have more or less effect on the acoustics. 

The spaces or pockets under the balconies should be venti- 
lated to provide against dead air. 



80 THEATRES AND PICTURE HOUSES 

SYSTEMS OF VENTILATION 

The so-called "Natural System" of ventilation is in reality- 
no system at all. 

For proper and effectual ventilation some system must be 
designed to supply the required amount of fresh air and to 
remove the vitiated air, no matter what the direction of the 
wind or the condition of the weather. 

Aspiration shafts with steam coils may be used in 
smaller theatres with fair results if all conditions are favor- 
able. 

The proper system of ventilation is one that will give the 
requisite supply of fresh air to any and all parts of the audi- 
torium at all times when needed, and in uniform and regu- 
lated quantities, and can be obtained only by properly 
designed mechanical or forced methods by means of a blower 
or fan and similar methods used for the exhaust. The 
ventilating system should be made to work in conjunction 
with the system of heating, particularly in northern climates. 
(See article on "Heating.") 

There are two methods of mechanical ventilation, viz., 
the "Exhaust System" and the "Plenum System." 

The "Exhaust System" requires a fan to withdraw the 
foul air from the room, and of course means must be provided 
for admitting an equal amount of air that is exhausted. 

The "Plenum System" forces the air into the room at 
any desired temperature, and in such quantities as may be 
desired, and may be controlled at will. Provision must also 
be made for the discharge of an equal amount of vitiated air. 
The air, before it is admitted into the room, is heated to the 
proper temperature in cold weather so that this makes a 



THEATRES AND PICTURE HOUSES 81 

combination of heating and ventilation. The fresh air 
supply should come from the outside at a considerable eleva- 
tion from the ground, and where possible should be taken 
from above the roof so as to avoid dirt and dust being drawn 
into the heating chamber. 

There are several systems by which the heating and venti- 
lating apparatus may be controlled automatically, and all 
first-class theatres should be so equipped. 

The "Blower System" may be used in warm weather for 
cooling the house. 



82 THEATRES AND PICTURE HOUSES 

LIGHTING 

Great advancement has been made in the methods and 
principles of lighting theatres in recent years. 

Proper lighting of theatres requires very careful and 
thoughtful planning, particularly on the stage. 

Electric lighting is, of course, the only proper method to 
be considered, and if the electric current is not available in 
the locality of the theatre, a special lighting plant should be 
installed. This method of service is resorted to very often, 
even in cities where the public service wires pass the site of 
the theatre. 

There are three systems of distributing light, and are 
known as the direct, the indirect and the semi-indirect. 

The "direct system" is objectionable on account of its 
glaring effects, and does not produce the desired results, often 
casting deep shadows where they are not desired, and dis- 
torts the colors and decorations, and producing undesirable 
conditions. 

The theory that direct lighting gives 100 per cent of light 
has been proven by experts to be erroneous. 

The "indirect system" is an improvement over the direct 
system, but is an extreme reverse of the former, and has its 
faults as well. It is true the light it diffuses is not glaring and 
hardish, but it is not bright and radiant enough to be used 
for practicable lighting purposes, except under certain con- 
ditions. 

The indirect system consists generally of inverted bowls 
and containers of metal or other opaque materials so that the 
rays of light are not seen directly by the audience, but are 
reflected from the container directly to the ceiling of walls 



THEATRES AND PICTURE HOUSES 83 

from whence it must be reflected to the lower portions of 
the auditorium. The ceiling, therefore, must be of light tints 
in order not to absorb the light. This is not always desirable 
or suitable to the general decorative or color schemes 
employed in theatres. Even if the ceiling is of the most 
advantageous color, indirect lighting fails to light the room 
with equal diffusion, but often causes the room to appear 
brilliantly lighted in its upper portions, but only partially 
lighted below. 

The indirect lighting system usually requires about 50 per 
cent more lighting power than the direct or semi-indirect 
systems. 

The "semi-indirect" lighting system, which in most cases 
is best for theatres, consists of translucent inverted bowls or 
containers, allowing a portion of the light to filter through 
in a downward direction as well as reflecting upon the ceiling. 

Thus the upper portion of the room is lighted just as well 
as with the indirect lighting, while in the lower portion of 
the room the gloom observed in indirect lighting is dispelled 
by the soft, white rays that filter through the translucent 
glass container, giving a perfect, equal distribution of light, 
producing all the good features of both the direct and the 
indirect systems, but eliminating all of their evil effects. 

It is therefore incumbent upon the architect to take into 
consideration the practical requirements of the manner and 
method of lighting, and to adopt such system as will give 
the best results for the particular case in hand, using per- 
haps a combination of the three systems mentioned, all of 
which will be governed to a large extent by the character of 
the ceiling construction, design and decorative features. It 
would be wise, therefore, if any complicated features arise, 



84 



THEATRES AND PICTURE HOUSES 



or any departure from the usual practice is contemplated, for 
the architect to take expert advice. 

Separate circuits should be provided for all exit lights, also 
for the auditorium and stage, and a No. 6 gauge wire for the 
projection machine. 

Extra fuses for all circuits should be constantly on hand. 



THEATRES AND PICTURE HOUSES 



85 



STAGE LIGHTING 

The proper lighting of the stage is one of the most impor- 
tant features of theatre equipment, and requires more careful 
thought and study than any other similar problem. It calls 
for the proper number and location of lights, according to 
the character of the house and the plays to be presented. The 
equipment consists of footlights, border lights, striplights, 
stage pockets, dimmers, and the equipment for furnishing 
the electrical effects, such as passing clouds, waves of the sea, 
lightning flashes, etc. A perfectly illuminated scene is pleas- 
ing to the eye, and will call forth applause from the audience, 
on the rising of the curtain, and is the prime factor in con- 
tributing to the successful consummation of the play. To get 
these results the best and latest improved devices should be 
used, and an expert consulted in laying it out. 

All lights in the auditorium, as well as those on the stage, 
are controlled from the stage switchboard. The switchboard 
should be of a dead face type as shown in the cut; that is, 




Stage Switchboard, Metropolitan Opera House, New York 



86 THEATRES AND PICTURE HOUSES 

there should be no live terminals on the face of the board. 
Below the switchboard the fuses for the different circuits are 
generally placed. The switchboard should be at least 3 ft. 
away from the wall, so that the electrician may have easy 
access to the rear of the board. 

The switches on the switchboard should be placed in 
gangs, one master switch to control the lights on the entire 
stage, one master switch to control all the lights in the audi- 
torium. The stage switch controls the different master gang 
switches, one for each color, and these again control the 
switches for the different circuits, also the switches for right 
and left incandescent stage pockets and special switches for 
the arc pockets. From the switchboard the different circuits 
must be run through iron conduits. 

A bank of dimmers controlling all different colors in 
border lights, footlights, proscenium lights, incandescent 
stage pockets, etc., is generally placed above the stage switch- 
board. This is furnished in one or more rows, as the occasion 
requires for the number of lamps to be dimmed. A dimmer 
plate should not have less than eighty steps to give a gradual 
change of light. 

The footlights trough should be straight from end to end. 
If the trough is curved the occupants of the boxes on the 
sides are annoyed by the glare of the footlights. 




— % 




Fig. 22 Fig. 24 

For footlights I recommend the semi-flush type (Fig. 22), 
which allows four 40-watt lamps to the foot in a single row. 
Figure 24 shows footlight with a double row of lights, allow- 



THEATRES AND PICTURE HOUSES 87 

ing eight 40-watt lamps to the foot. There are generally 
three colors used in footlights. 

A space of 2 to 3 ft. should be left between proscenium 
arch and footlights. Figure 26 shows an inverted type 
footlight. The new type of footlights for halls, high schools, 
. , . . etc., is a disappearing type. When not in 

use this footlight is flush with the stage 
floor and hidden from view. 
Fi s- 26 Border lights are composed of movable 

metal troughs equipped with electric lights, formed and con- 
structed so as to throw the light downward and backward on 
the stage, but not seen from the audience. The first border 
light is placed in front of the grand drapery and behind the 
valance or permanent border. Other border lights are set 
from 6 ft. to 7 ft. apart. 

Four to six border lights are generally used for illumi- 
nating the stage and these should be at least 2 feet longer 
than the proscenium opening, with the exception of the first 
border light, which should be 2 ft. smaller than the pros- 
cenium opening. This border is generally 
used for interior sets. The universal type 
(Figs. 27 and 29) are generally used. Four 
60-watt lamps can be placed to the foot in a 
single row in this type. They are made of 
galvanized iron, completely wired to cable 
splicing box on border and furnished with l 1 /^ 
in. pipe for hanging. They are suspended Fi 27 
from the gridiron and made to raise and lower 
at will. Three colors are generally used in border lights, 
white, red and blue and occasionally a fourth color, amber, 
is used. 




88 



THEATRES AND PICTURE HOUSES 




Fig. 28 



A flexible electric cable having the number of 
wires required runs from the border light to 
the stage switchboard. The border light cable 
is held by a border light cable support 
(Fig. 28) to the border light. 

The border light cradles are for rais- 
ing and lowering the cables, so that it 
will not interfere with the side borders. 

The stage should be provided with one arc and one or more 
incandescent stage pockets in each entrance, right and left 
stage. The arc pocket has 50 amperes 
capacity, and the incandescent pockets 25 
amperes. These are marked on the 
face of the cover with the proper 
rating. Arc pockets should be pro- 
vided on the arc light bridge, right 
and left proscenium opening, also 
two to four arc pockets, auto type, 
should be installed on each fly gal- 
lery. On the front of the balcony a 
panel pocket with four outlets is of 
great advantage to traveling companies, for 
spot lights, also as a connection for a port- 
able motion picture machine, if desired. All pockets are con- 
nected direct to the stage switchboard. 

The stage should also be provided with several 
bunch lights and striplights. The striplights are 
located on the sides of the proscenium arch, back far 
enough not to be seen from the audience. They are 
set in enameled metal troughs at a proper angle to 
thrpw the light toward the center of the stage. 

The striplights start about 6 ft. above the stage 
floor and extend to the top of the proscenium opening. 
They are equipped with white and colored lights. 





Fig. 29 



Fig. 30 




VI. REGENT THEATRE, 116TH ST. AND SEVENTH AVE., NEW YORK CITY 

Thomas W. Lamb, Architect 




VII. ELSMERE THEATRE, NEW YORK CITY. 
Shampan & Shampan, Architects 



THEATRES AND PICTURE HOUSES 89 

SPRINKLER SYSTEM OF FIRE PROTECTION 

The stage of any theatre where scenery is used should be 
protected from fire by the use of an automatic sprinkler 
system. Many disastrous fires have been prevented by the 
fact that sprinklers had been installed. 

The sprinkler heads should be located under the stage 
roof, gridiron, fly galleries and under the stage, in the scene 
docks, paint shop, dressing rooms, carpenter shop, property 
rooms, boiler room, etc. It is not necessary to install 
sprinklers over the auditorium ceiling unless that space is 
used for some purpose that requires protection. 

There are three systems of sprinklers used, viz. : 

1. The ordinary wet pipe system ; 

2. The non-freezing wet pipe system, and 

3. The dry pipe system. 

The ordinary wet pipe system is the one most generally 
used. It is, of course, subject to freezing if the building in 
which it is installed is not constantly heated. The non- 
freezing wet pipe system has an open water tank and a small 
air-tight iron tank to feed the pipes, which are filled with a 
non-freezing and non-corrosive liquid. The tanks are con- 
nected by a syphon, so that the system is supplied automati- 
cally when a head opens. 

The dry pipe system is desirable in places where the pipes 
are liable to freeze. This system requires air pumps and 
frequent watching by an attendant and is expensive to main- 
tain on that account. 

Theatres generally are sufficiently heated at all times to 
insure the non-freezing of the water in the pipes, therefore, 
the wet system is most generally used. It is the purpose of 



90 THEATRES AND PICTURE HOUSES 

an automatic sprinkler system to extinguish the fire in its 
incipiency, through the agency of the fire itself. A fire, if 
started opens up only a limited number of sprinkler heads; 
hence, there is no useless waste of water, no unnecessary 
damage, and the water discharged is concentrated in the 
spot just where wanted. 

A wet-pipe sprinkler system comprises a wooden Cooper's 
tank, placed on the highest part of the stage roof, and of a 
capacity corresponding to the number of sprinkler-heads. 
The installation for a theatre requires generally from 100 to 
300 sprinkler-heads, suitably distributed; several iy 2 , 2 and 
4-inch risers ; a separate shut-off valve for each floor or tier ; 
a 2*4 to 3-inch riser from the pump to the tank, a watchman's 
automatic fire-alarm with large gongs — one on the stage, the 
other on the outside of the building ; a low-water alarm with 
indicator in the pump or engine-room; one or more 3-inch 
pipes running from the main riser to the outside of the build- 
ing, to form a fire-department connection (for auxiliary sup- 
ply), which is provided with check- valves. 

It is essential that all sprinkler-systems should have two 
independent approved sources of supply, of which one should 
be always turned on. Speaking generally, the supply to the 
sprinkler system may be either from a roof tank or from 
reservoir pressure, or from direct pressure from public street 
mains, or from special sprinkler fire-pumps, or from fire- 
department steam-engines by means of the outside fire- 
department connections. 

In many of our large cities the street main supply is out 
of the question, because the available pressure is insufficient. 
While it is perfectly feasible to use a rotary or direct-acting 
fire-pump to supply the system, this would, in theatres where 



THEATRES AND PICTURE HOUSES 91 

one fire-pump is already provided to supply the stand-pipe 
fire-valves, require a second pump of large capacity, for, as 
already stated, the fire pump described heretofore, is only 
to be used for the fire-valves and hose streams, and to keep 
the fire-tank on the roof filled. It is therefore usual to choose 
for theatres the fifth combination, viz., to supply the sprinkler 
system primarily from a large roof tank, always kept full of 
water, and as an auxiliary supply to provide one or several 
outside fire-department connections, which enable the fire 
department, in case of a theatre fire, to connect a steam fire- 
engine and to keep the sprinkler system on the stage sup- 
plied in case the roof tank has discharged its whole con- 
tents. 

Sprinkler-heads must be able to sustain a pressure of 300 
lb. per square inch without leaking and they must be capable 
of operating under five pounds of water-pressure. 

All sprinkler-heads are provided with distributors or 
deflectors, which divide the stream of water, as it strikes 
them, into a heavy shower, which thoroughly drenches the 
fire. These deflectors are stationary in some sprinklers, in 
others they are revolving or oscillating. The sprinkler-heads 
are placed either above or below the distributing pipes, the 
former position being slightly preferable because it secures 
perfect drainage and prevents the lodgment of rust, dirt or 
sediment in the sprinklers. 

The ordinary fusible solder-joint, which opens at 155 to 
160 degrees Fahrenheit, is not adapted for boiler rooms or 
drying rooms, owing to the sometimes excessive heat in these 
rooms, and if automatic-sprinkler protection is desired in 
such places, a different alloy or solder having a high degree 
of fusibility should be used. 



92 THEATRES AND PICTURE HOUSES 

The number of sprinklers necessary for an equipment 
depends upon the areas to be protected. 

Sprinkler-heads must be set at no greater distance than 
10 feet apart, and 5 feet away from walls or partitions, so 
that they protect an area of 10 feet in diameter. The rules 
of the New York Board of Fire Underwriters call for all 
portions of a building to be equipped by sprinklers, unless 
especially exempted because of being entirely fireproof and 
containing only non-combustible materials, as, for instance, 
the loft over the auditorium; but in the stage portion of a 
theatre it is important that the space between ceiling or rig- 
ging-loft and the stage roof be also protected. The largest 
number of sprinklers in a theatre is required to protect the 
rigging-loft and under it to protect the stage. 

All exposed sprinkler-heads must have guards placed 
around them to protect them from damage, and this in 
theatres must be particularly observed in the case of 
sprinklers placed under the rigging loft and the fly-galleries, 
with which sprinklers some of the hoisting machinery for the 
curtain or the borders and drops may come in contact. 

Nothing should be permitted to be hung from sprinkler- 
pipes, nor should the sprinkler-heads be painted, bronzed, or 
covered with whitewash. 

The roof tank, supplying the sprinkler system, should be 
placed on the highest part of the stage roof, and must be 
elevated so that its bottom will be at least 12 feet above the 
level of the highest sprinkler. This location of the fire-tank 
on the roof is open to the objection that in case of fire the 
tank will fall with the collapse of the roof or the bearing 
walls and may thus become a source of danger to the fire- 
men. 



THEATRES AND PICTURE HOUSES 93 

Where it can be done, it is preferable to build a separate 
tank tower. 

The roof tank must be of large capacity, so as to be able 
to supply the sprinklers opened during a fire for a certain 
length of time. 

Exposed exterior walls may also be protected by a 
perforated sprinkler system that will allow a sheet of water 
to pour down over the face of the wall. 



94 THEATRES AND PICTURE HOUSES 

FIRE STAND-PIPES 

At suitable points in the four subdivisions of a theatre, 
fire stand-pipes, with fire-valves and hose attached, should be 
placed. The largest number of fire-valves is required on or 
about the various levels of the stage where a fire is most 
likely to break out. There should also be fire stand-pipes in 
the auditorium, in the corridors and lobbies, and near the 
dressing rooms, and they should be so distributed that the 
remotest corner can be reached by the fire-hose at each of 
the outlets. 

The number of stand-pipes required and their position 
depend, therefore, upon the size and area of the theatre and 
upon the length of the fire-hose attached to the fire-valves. 
The New York City Building Law requires that one stand- 
pipe be provided on each side of the stage, with outlets on 
every floor and gallery, from the understage to the rigging- 
loft ; one stand-pipe on each side of the auditorium, with out- 
lets in each tier from the cellar to the gallery; one in the 
property-room, and one in the carpenter's shop. Cases are 
known where fires have started on the stage during the per- 
formance and extinguished by the automatic sprinkler, with- 
out the audience knowing of it, or without any interruption 
of the play. 

ENGINE ROOM 

Where the theatre contains an engine room, for 
machinery, etc., it must be separated by suitable walls and 
properly located so as to be free from dirt and dust from the 
coal rooms, and should have outside windows, toilet rooms, 
etc., and connected by telephone and signals from the Man- 
ager's Office. 



THEATRES AND PICTURE HOUSES 95 

FAN ROOM 

If fans and blowers are to be installed, the fan room 
should be of ample height and located so as to accommodate 
the ducts for the distribution of heat, and also to receive the 
fresh air from the outside. 

ADVERTISING SPACE 

As the general thing, patrons are adverse to having to sit 
and look at a promiscuous lot of advertisements thrown on 
the screen. 

They pay admission to be entertained. 

This objection is not so marked in small towns or country 
theatres. 

The manager should advertise himself and his future 
plays. 

It is permissible to have a drop curtain lowered before 
the performance and between same with a few well-selected 
ads, as the people do not like to sit and look at a blank white 
screen when there is nothing going on. 

As the theatre is patronized by the same people each 
week, the ads should be changed weekly and should be 
attractive and brief, but while you are getting some annual 
revenue from your paid advertisements, you will please your 
audience better and get closer to them by advertising your 
own policies, programs, etc. Talk to your patrons by the 
use of slides on matters of interest to them and yourself. 



96 THEATRES AND PICTURE HOUSES 

ELECTRIC WIRING 

[Extracts from the Rules of the National Board of Fire Underwriters] 

THEATRES AND MOVING PICTURE WIRING 

All wiring, apparatus, etc., not specifically covered by 
special rules herein given must conform to the standard rules 
and requirements of the National Electrical Code, and the 
term "theatre" shall mean a building or that part of a build- 
ing regularly or frequently used for dramatic, operatic, mov- 
ing picture or other performances or shows, or which has a 
stage for such performances used with scenery or other stage 
appliances. 

SERVICES 

Where supply may be obtained from two separate street 
mains, two separate and distinct services must be installed, 
one service to be of sufficient capacity to supply current for 
the entire equipment of theatre, while the other service must 
be at least of sufficient capacity to supply current for all 
emergency lights, where supply feed for emergency lights 
must be taken from a point on the street side of main service 
fuses. By "emergency lights" are meant exit lights and all 
lights in lobbies, stairways, corridors and other portions of 
theatres to which the public have access, which are normally 
kept lighted during the performance. 

Where source of supply is an isolated plant within the 
building, an auxiliary service of at least sufficient capacity 



THEATRES AND PICTURE HOUSES 97 

to supply all emergency lights must be installed from some 
outside source, or a suitable storage battery within the prem- 
ises may be considered the equivalent of such service. 

STAGE 

All permanent construction on stage side of proscenium 
wall, except as hereinafter provided, must be approved con- 
duit or armored cable. 

FOOTLIGHTS 

Must be wired in approved conduit or armored cable, each 
lamp receptacle being enclosed with an approved outlet box, 
or the lamp receptacles may be mounted in an iron or steel 
box, metal to be a thickness not less than No. 20 U. S. sheet 
metal gauge, treated to prevent oxidization, so constructed 
as to enclose all the wires. Wires to be soldered to lug of 
receptacles. 

Must be wired that no set of lamps requiring more than 
1320 watts nor more than 24 receptacles shall be dependent 
upon one cut-out. 

BORDERS AND PROSCENIUM SIDELIGHTS 

1. Must be constructed of steel to a thickness not less than 
No. 20 U. S. sheet metal gauge, treated to prevent oxidization, 
be suitably stayed and supported, and so designed that 
flanges of reflectors will protect lamps. 

2. Must be so wired that no set of lamps requiring more 
than 1320 watts nor more than 24 receptacles shall be depend- 
ent upon one cut-out. 



98 THEATRES AND PICTURE HOUSES 

3. Must be wired in approved conduit or armored cable, 
each lamp receptacle to be enclosed within an approved outlet 
box, or the lamp receptacle may be mounted in an iron or 
steel box, metal to be a thickness not less than No. 20 U. S. 
sheet metal gauge, treated to prevent oxidization, so con- 
structed as to enclose all wires. Wires to be soldered to lugs 
of receptacles. 

4. Must be provided with suitable guards to prevent 
scenery or other combustible material coming in contact with 
lamps. 

5. Cables for borders must be of approved type and suit- 
ably supported; conduit construction must be used from 
switchboard to point where cables must be flexible to permit 
of the raising and lowering of border. 

6. For the wiring of the border proper wire with approved 
slow-burning insulation must be used. 

7. Borders must be suitably suspended, and if a wire rope 
is used same must be insulated by at least one strain insulator 
inserted at the border. 



STAGE AND GALLERY POCKETS 

Must be of approved type, controlled from switchboard, 
each receptacle to be of not less than 35 ampere rating for 
arc lamps nor 15 amperes for incandescent lamps and each 
receptacle to be wired to its full capacity. Arc pockets to be 
wired with wire not smaller than No. 6 B. & S. gauge and 
incandescent pockets with not less than No. 12 B. & S. gauge. 

Plugs for arcs and incandescent pockets must not be inter- 
changeable. 



THEATRES AND PICTURE HOUSES 99 

SCENE DOCKS 

Where lamps are installed in scene docks, they must be 
located and installed that they will not be liable to mechanical 
injury. 

CURTAIN MOTORS 

Must be of ironclad type and installed so as to conform to 
the requirements of the National Electrical Code. 

CONTROL FOR STAGE FLUES 

In cases where dampers are released by an electric device, 
the electric circuit operating same must be normally closed. 

Magnet operating damper must be wound to take full 
voltage of circuit by which it is supplied, using no resistance 
device, and must not heat more than normal for apparatus 
of similar construction. It must be located in the loft above 
the scenery, and be installed in a suitable iron box with a 
tight, self-closing door. 

Such dampers must be controlled by at least two standard 
single pole switches mounted within approved iron boxes 
provided with self-closing doors without lock or latch, and 
located, one at the electrician's station and others as desig- 
nated by the inspection department having jurisdiction. 

DRESSING ROOMS 

Must be wired in approved conduit or armored cable. All 
pendant lights must be equipped with approved reinforced 
cord, armored cable or steel armored flexible cord. 

All lamps must be provided with approved guards. 



100 THEATRES AND PICTURE HOUSES 

PORTABLE EQUIPMENT 

Arc lamps used for stage effects must conform to the fol- 
lowing requirements : 

1. Must be constructed entirely of metal except where 
the use of approved insulating material is necessary. 

2. Must be substantially constructed, and so designed as 
to provide for proper ventilation, and to prevent sparks being 
emitted from lamps when same are in operation, and mica 
must be used for frame insulation. 

3. Front opening must be provided with a self-closing 
hinged door frame, in which wire gauze or glass must be 
inserted, except in the case of lens lamps, where the front 
may be stationary, and a solid door be provided on back or 
side. 

4. Must be so constructed that neither carbons nor live 
parts will be brought into contact with metal of hood during 
operation, and arc lamp frames and standards must be so 
installed and protected as to prevent the liability of their 
being grounded. 

5. Switch on standard must be so constructed that acci- 
dental contact with any live portion of same will be impossible. 

6. All stranded connections in lamp and at switch and 
rheostats must be provided with approved lugs. 

7. Rheostats must be plainly marked with their rated 
capacity in volts and amperes, and, if mounted on standard, 
must be raised to a height of at least 3 in. above floor. Resist- 
ance must be enclosed in a substantial and properly venti- 
lated metal case which affords a clearance of at least 1 in. 
between case and resistance element. 



THEATRES AND PICTURE HOUSES 101 

8. A competent operator must be in charge of each arc 
lamp, except that one operator may have charge of two lamps 
when they are not more than 10 ft. apart, and are so located 
that he can properly watch and care for both lamps. 



BUNCHES 

Must be substantially constructed of metal and must not 
contain any exposed wiring. 

The cable feeding same must be bushed in an approved 
manner where passing through the metal, and must be prop- 
erly secured to prevent any mechanical strain from coming 
on the connection. 



STRIPS 

Must be constructed of steel of a thickness not less than 
No. 20 U. S. sheet metal gauge, treated to prevent oxidization, 
and suitably stayed and supported and so designed that 
flanges will protect lamps. 

Cable must be bushed in a suitable manner where passing 
through the metal, and must be properly secured to prevent 
serious mechanical strain from coming on the connections. 

Must be wired in approved conduit or armored cable, each 
lamp receptacle being enclosed within an approved outlet box, 
or the lamp receptacle may be mounted in an iron or steel 
box, metal to be of a thickness not less than No. 20 U. S. sheet 
metal gauge, treated to prevent oxidization, so constructed 
as to enclose all wires. Wires to be soldered to lugs of 
receptacles. 



102 THEATRES AND PICTURE HOUSES 

PORTABLE PLUGGING BOXES 

Must be constructed so that no current carrying part will 
be exposed and each receptacle must be protected by approved 
fuses mounted on slate or marble bases and enclosed in a fire- 
proof cabinet equipped with self-closing doors. Each recep- 
tacle must be constructed to carry 30 amperes without undue 
heating, and the bus-bars must have a carrying capacity 
equivalent to the current required for the total number of 
receptacles, and approved lugs must be provided for the con- 
nection of the master cable. 



PIN PLUG CONDUCTORS 

Must be of an approved type, so installed that the "female" 
part of plug will be on live end of cable, and must be so con- 
structed that tension on the cable will not cause serious 
mechanical strain on the connections. 



PORTABLE CONDUCTORS 

Flexible conductors used from receptacles to arc lamps, 
bunches and other portable equipments must be approved 
stage cable except that for the purpose of feeding a stand 
lamp under conditions where conductors are not liable to 
severe mechanical injury, an approved reinforced cord may 
be used, provided cut-out designed to protect same is not 
fused over six amperes capacity. 



THEATRES AND PICTURE HOUSES 103 

LIGHTS ON SCENERY 

Where brackets are used they must be wired entirely on 
the inside, fixture stem must come through the back of the 
scenery, and end of stem be properly bushed. 

STRING OR FESTOONED LIGHTS 

Wiring of same must be of approved type, joints to be 
properly made, soldered and taped, and staggered where 
practicable. 

Where lamps are used in lanterns or similar devices, 
approved guards must be employed. 

SPECIAL ELECTRICAL EFFECTS 

Where devices are used for producing special effects, such 
as lightning, waterfalls, etc., the apparatus must be so con- 
structed and located that flames, sparks, etc., resulting from 
the operation cannot come in contact with combustible 
material. 



104 THEATRES AND PICTURE HOUSES 

AUDITORIUM 

All wiring must be installed in approved conduit, metal 
moulding or armored cable. 

Exit lights must not have more than one set of fuses 
between same and service fuses. 

Exit lights and all lights in halls, corridors or any other 
part of the building used by audience, except the general audi- 
torium lighting, must be fed independently of the stage light- 
ing, and must be controlled only from the lobby or other con- 
venient place in front of the house. All fuses must be 
enclosed in approved cabinets. 

MOVING PICTURE EQUIPMENTS 

1. ARC LAMP USED AS A PART OF A MOVING 
PICTURE MACHINE— Must be constructed, so far as prac- 
ticable, similar to arc lamps of theatres, and wiring to same 
must not be of less capacity than No. 6 M. & S. gauge. 

2. RHEOSTATS— Must conform to rheostat require- 
ments for theatre arcs. 

3. TOP AND BOTTOM OF REELS— Must be enclosed in 
steel boxes or magazines, each with an opening of approved 
construction at bottom or top, so arranged as not to permit 
entrance of flame to magazine. 

No solder is to be used in the construction of these maga- 
zines. The front side of each magazine must consist of a 
door spring-hinged and swinging horizontally, and be pro- 
vided with a substantial latch. 

4. AUTOMATIC SHUTTER— Must be provided and must 
be so constructed as to shield the film from the beam of light 




VIII. ELTINGE'S THEATRE, NEW YORK CITY 
Thomas W. Lamb, Architect 



THEATRES AND PICTURE HOUSES 105 

whenever the film is not running at operating speed. Shutter 
must be permanently attached to the gate frame. 

5. EXTRA FILMS— Must be kept in individual metal 
boxes equipped with tight-fitting covers. 

6. MACHINE ENCLOSURE— Machine must be placed 
in an enclosure or house made of suitable fireproof material ; 
must be properly ventilated, properly lighted and large 
enough for operator to walk freely on either side of or back 
of machine. All openings into this booth must be arranged so 
as to be entirely closed by doors or shutters constructed of 
the same or equally good fire-resisting material as the booth 
itself. Doors or covers must be arranged so as to be held 
normally closed by spring hinges or equivalent devices. 

8. REELS CONTAINING FILMS UNDER EXAMINA- 
TION OR IN PROCESS OF REWINDING— Must be 
enclosed in magazines or approved metal boxes similar to 
those required for films in operation, and not more than 2 ft. 
of film shall be exposed in booth. 

HOW ELECTRICITY IS MEASURED 

The measurement of electrical energy is as accurate as the 
measurement of any tangible substance. The various elec- 
trical meters are arranged to show the amount of electrical 
energy in a circuit through one or more of the effects of the 
current, such as the heating, chemical or magnetic effects. 

The "volt" is the practical unit of electrical pressure cor- 
responding to steam or water pressure. The ordinary pres- 
sure on incandescent lamps is about 110 volts. 

The "ohm" is the practical unit of resistance and cor- 
responds to mechanical friction, such as resistance to the flow 
of water in water pipes. 



106 THEATRES AND PICTURE HOUSES 

The "ampere" is the practical unit of "rate of flew," such 
as water flowing at the rate of a certain number of gallons 
per minute. 

The "watt" is the practical unit of power and is obtained 
by multiplying the number of volts of pressure by the number 
of amperes flowing. 746 watts equals one electrical horse- 
power and equals 33,000 foot-pounds. 

One kilowatt hour is the practical unit of measurement 
and is equal to 1,000 watts of energy used for one hour. 

The ordinary 16-candlepower carbon filament lamp con- 
sumes slightly more than 50 watts, or about 31/10 watts per 
candlepower. 

The new Tungsten consumes energy at the rate of only 
I14 watts per candlepower. 



THEATRES AND PICTURE HOUSES 107 

EXTRACT N. Y. CITY BUILDING LAWS 

WALLS 

Fireproof walls shall separate the auditorium from the 
entrance vestibule, lobby or other rooms. 

DRESSING ROOMS 

These may be placed in the fly galleries, with proper exits 
to the outside, but are to be surrounded with fireproof walls. 

No dressing rooms allowed below the street level. 

No dressing room windows shall have fixed sash, or have 
grills or bars over same. 

FIRE APPLIANCES 

Standpipes required on each side of stage and auditorium 
with openings on each floor, equipped with one length of 
214 in. hose, ready for use. 

Sprinklers supported from roof tanks to be placed on 
stage, dressing rooms, carpenter shop, paint room and prop- 
erty rooms. 

Water casks and buckets shall be placed at suitable places 

on stage ; also fire extinguishers. 

« 

HEATING PLANT 

The boiler room shall be located outside of the building 
and enclosed with masonry walls, with fireproof ceilings, 
windows and doors. 



108 THEATRES AND PICTURE HOUSES 

LIGHTING 

All parts of theatre shall be adequately lighted and remain 
so till the audience has left the premises. All lights in corri- 
dors, lobbies, or other parts of the building except the audi- 
torium shall be controlled by switches located only in each 
of said corridors, etc. 

MEANS OF EGRESS 

1. EXITS TO STREETS. Every theatre accommodat- 
ing 300 persons shall have at least two exits ; when accommo- 
dating 500 persons, at least three exits shall be provided; 
these exits not referring to or including the exits to the open 
court at the side of the theatre. Every such building shall 
have at least one front on the street, and in such front there 
shall be suitable means of entrance and exit for the audience, 
not less than 25 ft. in width. The entrance of the main front 
of the building shall not be on a higher level from the side- 
walk than four steps, unless approved by the superintendent 
of buildings. Each exit shall be at least 5 ft. in width in 
the clear, as hereinbefore prescribed in this chapter. All of 
said doors shall open outwardly and shall be fastened with 
movable bolts, the bolts to be kept drawn during perform- 
ances. 

2. EXITS TO COURTS. In addition to the aforesaid 
entrances and exits on the street, there shall be reserved for 
service in case of an emergency an open court or space in 
the rear and on the side not bordering on the street, where 
said building is located on a corner lot; and in the rear and 
on both sides of said building where there is but one frontage 



THEATRES AND PICTURE HOUSES 109 

on the street as hereinafter provided. The width of such 
open court or courts shall be not less than 10 ft. where the 
seating capacity is not over 1000 people ; above 1000 and not 
more than 1800 people, 12 ft. in width, and above 1800 people, 
14 ft. in width. Said open court or courts shall extend the 
full length and height of the building and across on each side 
and rear thereof where its side or sides does not abut on a 
street or alley, and shall be of the same width at all points, 
and exits hereafter specified shall lead into such open courts. 
From the auditorium opening into the said open courts or on 
the side street there shall be not less than two exits on each 
side in each tier from and including the parquet and each 
gallery. The said open courts and corridors shall not be 
used for storage purposes, or for any purposes whatsoever,, 
except for exit and entrance from and to the auditorium 
and stage, and must be kept free and clear during 
performances. 

3. DOORWAYS OF EXITS. Doorways of exit or 
entrance for the use of the public shall be not less than 5 ft. 
in width, and for every additional 100 persons or portions 
thereof to be accommodated in excess of 500, an aggregate of 
20 in. additional exit width must be allowed. All doors of exit 
or entrance shall open outwardly and be hung to swing in 
such a manner as not to become an obstruction in a passage 
or corridor, and no such doors shall be closed and locked 
during any representation or when the building is open to 
the public. 

4. FOYERS, LOBBIES AND CORRIDORS. The foyers, 
lobbies, corridors, passages and rooms for the use of the 
audience, not including aisles spaced between seats, shall on 
the first or main floor, where the seating capacity exceeds 



110 THEATRES AND PICTURE HOUSES 

500, be at least 16 ft. clear back of the last row of seats, and 
on each balcony or gallery at least 12 ft. clear of the last row 
of seats. The level of said corridors at the front entrance 
to the building shall be not greater than one step above the 
level of the sidewalk where they begin at the street entrance. 
During the performance the doors or gates in the corridors 
shall be kept open by proper fastenings ; at other times they 
may be closed and fastened by movable bolts or blocks. 

5. AISLES. All aisles on the respective floors of the 
auditorium shall be not less than 3 ft. wide where they begin, 
and shall be increased in width toward the exits in a ratio of 
iy 2 in. to 5 running ft. 

6. GRADIENTS. Gradients or inclined planes shall be 
employed instead of steps where possible to overcome slight 
differences of level in or between aisles, corridors and 
passages. To overcome any difference of level in and 
between courts, corridors, lobbies, passages and aisles on the 
ground floor, gradients shall be employed of not over 1 ft. 
in 12 ft., with no perpendicular rises. 

7. GALLERY EXITS. Distinct and separate places of 
exit and entrance shall be provided for each gallery above 
the first. A common place of exit and entrance may serve 
for the main floor of the auditorium and the first gallery, 
provided its capacity be equal to the aggregate capacity of 
the outlets from the main floor and the said gallery. No 
passage leading to any stairway communicating with any 
entrance or exit shall be less than 4 ft. in width in any part 
thereof. From the auditorium opening into the said open 
courts or on the side street, there shall be not less than two 
exits on each side in each tier from and including the 
parquet and each and every gallery. 



THEATRES AND PICTURE HOUSES 111 

8. STAIRCASES TO GALLERIES. Where the seating 
capacity is for more than 1000 people, there shall be at least 
two independent staircases, with direct exterior outlets pro- 
vided for each gallery in the auditorium where there are not 
more than two galleries, and the same shall be located on 
opposite side of said galleries. Where there are more than 
two galleries, one or more additional staircases shall be pro- 
vided, the outlets from which shall communicate directly with 
the principal exit or other exterior outlets. All such stair- 
cases shall be of width proportionate to the seating capacity, 
as elsewhere herein prescribed. 

Where the seating capacity is for 1000 people, or less, 
two direct lines of staircases only shall be required, located 
on opposite sides of the galleries, and in both cases shall 
extend from the sidewalk level to the upper gallery, with 
outlets from each gallery to each of said staircases. All 
inside stairways leading to the upper galleries of the audi- 
torium shall be inclosed on both sides with walls of fireproof 
materials. Stairs leading to the first or lower gallery may 
be left open on one side, in which case they shall be con- 
structed as herein provided for similar stairs leading from 
the entrance hall to the main floor of the auditorium. But 
in no case shall stairs leading to any gallery be left open on 
both sides. No doors shall be open immediately upon a flight 
of stairs, but a landing at least the width of the door shall 
be provided between such stairs and such door. 

9. STAGE STAIRCASES. At least two independent 
staircases, with direct exterior outlets, shall also be provided 
for the service of the stage and shall be located on the oppo- 
site side of the same. 



112 THEATRES AND PICTURE HOUSES 

10. STAIRWAYS. All staircases for the use of the 
audience shall be inclosed with walls of brick or of fireproof 
materials approved by the superintendent of buildings, in the 
stories through which they pass, and the openings to said 
staircases from each tier shall be of the full width of said 
staircases. All stairs within the building shall be con- 
structed of fireproof material throughout. Stairs from 
balconies and galleries shall not communicate with the base- 
ment or cellar. All stairs shall have treads of uniform width 
and risers of uniform height throughout in each flight. 
Stairways serving for the exit of fifty people shall be at least 
4 ft. wide between railings or between walls, and for every 
additional fifty people to be accommodated 6 in. must be 
added to their width. The width of all stairs shall be 
measured in the clear between hand rails. In no case shall 
the risers of any stairs exceed iy 2 in. in height, nor shall the 
treads, exclusive of nosings, be less than 10y 2 in. wide in 
straight stairs. No circular or winding stairs for the use 
of the public shall be permitted. When straight stairs return 
directly on themselves, a landing of the full width of both 
flights, without steps, shall be provided. The outer line of 
landings shall be curved to a radius of not less than 2 ft. to 
avoid square angles. Stairs turning at an angle shall have a 
proper landing without winders introduced at said turn. In 
stairs, when two wide flights connect with one main flight, 
no winders shall be introduced, and the width of the main 
flight shall be at least equal to the aggregate width of the side 
flights. All stairs shall have proper landings introduced at 
convenient distances. 

11. STAIRWAY HAND RAILS. All inclosed stair- 
cases shall have on both sides strong hand rails firmly secured 



THEATRES AND PICTURE HOUSES 113 

to the wall about 3 in. distant therefrom and about 3 ft. 
above the stairs, but said hand rails shall not run on level 
platforms and landings where the same is more in length 
than the width of the stairs. All staircases 8 ft. and over in 
width shall be provided with a center hand rail of metal not 
less than 2 in. in diameter, placed at a height of about 3 ft. 
above the center of the treads, and supported on wrought 
metal or brass standard of sufficient strength, placed not 
nearer than 4 ft. nor more than 6 ft. apart and securely bolted 
to the treads or risers of stairs, or both, and at the head of 
each flight of stairs, on each landing, the post shall be at 
least 6 ft. in height, to which the rail shall be secured. 

12. FIRE ESCAPES. There shall be balconies not less 
than 6 ft. in width in the said open courts at each level or 
tier above the parquet on each side of the auditorium, of 
sufficient length to embrace the two exits, and from said 
balconies there shall be staircases extending to the ground 
level, with a rise of not over Sy 2 in. to a step and not less 
than 9 in. tread exclusive of the nosing. The staircase from 
the upper balcony to the next below shall be not less than 48 
in. in width clear, and from the first balcony to the ground 
4 ft. in width in the clear where the seating capacity of the 
auditorium is for 1000 people or less, 4 ft. 6 in. in the clear 
where above 1000 and not more than 1800 people, and 5 ft. 
in the clear where above 1800 people and not more than 2500 
people, and not over 5 ft. 6 in. in the clear where above 2500 
people. All the before mentioned balconies and staircases 
shall be constructed of iron throughout, including the floors, 
and of ample strength to sustain the load to be carried by 
them, and they shall be covered with a metal hood or awning, 
to be constructed in such manner as shall be approved by the 



114 THEATRES AND PICTURE HOUSES 

superintendent of buildings. Where one side of the building 
borders on the street there shall be balconies and staircases 
of like capacity and kind, as before mentioned, carried to 
the ground. 

13. DIAGRAM OF EXITS. A diagram or plan of each 
tier, gallery or floor, showing distinctly the exits therefrom, 
each occupying a space not less than 15 sq. in., shall be printed 
in black lines in a legible manner on the program of the 
performance. Every exit shall have over the same on the 
inside the word "Exit" painted in legible letters not less than 
8 in. high. 

PARTITIONS AND WALLS 

The partitions in that portion of the building which con- 
tains the auditorium, the entrance and vestibule and every 
room and passage devoted to the use of the audience shall 
be constructed of fireproof materials including the furring 
of outside or other walls. The walls separating the actors' 
dressing rooms from the stage and the partitions dividing 
the dressing rooms, together with the partitions of every 
passageway from the same to the stage, and all other parti- 
tions on or about the stage shall be constructed of fireproof 
material approved by the superintendent of buildings. All 
doors in any of said partitions shall be fireproof. 






THEATRES AND PICTURE HOUSES 115 

PROSCENIUM CONSTRUCTION 

A fire wall built of brick shall separate the auditorium 
from the stage. The same shall extend at least 4 ft. above the 
stage roof, or the auditorium roof if the latter be the higher, 
and shall be coped. Above the proscenium opening there 
shall be an iron girder of sufficient strength to safely support 
the load above, and the same shall be covered with fireproof 
materials to protect it from the heat. Should there be con- 
structed an orchestra over the stage above the proscenium 
opening the said orchestra shall be placed on the auditorium 
side of the proscenium fire wall and shall be entered only 
from the auditorium side of said wall. The molded frame 
around the proscenium opening shall be formed entirely of 
fireproof materials ; if metal be used, the metal shall be filled 
in solid with non-combustible material and securely anchored 
to the wall with iron. No doorway or opening through the 
proscenium wall from the auditorium shall be allowed above 
the level of the first floor, and such first floor openings shall 
have fireproof doors on each face of the wall, and the doors 
shall be hung so as to be opened from either side at all times. 






116 THEATRES AND PICTURE HOUSES 

PROTECTIVE CURTAIN 

The proscenium opening shall be provided with a fire- 
proof metal curtain or a curtain of asbestos or other fireproof 
material approved by the superintendent of buildings, sliding 
at each end within iron grooves securely fastened to the brick 
wall and extending into such grooves to a depth not less than 
6 in. on each side of the opening. The proscenium curtains 
shall be placed at least 3 ft. distant from the footlights, at 
the nearest point. Said fireproof curtain shall be raised at 
the commencement of each performance and lowered at the 
close thereof and be operated by approved machinery for that 
purpose. 

ROOF OF AUDITORIUM 

The roof over the auditorium and the entire main floor of 
the auditorium and vestibule, also the entire floor of the 
second story of the front superstructure over the entrance, 
lobby and corridors, and all galleries and support for the same 
in the auditorium shall be constructed of iron and steel and 
fireproof materials, not excluding the use of wood floor- 
boards and necessary sleepers to fasten the same to, but such 
sleepers shall not mean timbers of support, and the space 
between the sleepers, excepting a portion under the stepping 
in the galleries, which shall be properly fire stopped, shall be 
solidly filled with incombustible material up to underside of 
the floorboards. 






THEATRES AND PICTURE HOUSES 117 

SEATS 

All seats in the auditorium excepting those contained in 
boxes shall be not less than 32 in. from back to back, measured 
in a horizontal direction and firmly secured to the floor. No 
seat in the auditorium shall have more than six seats inter- 
vening between it and an aisle on either side. No stool or 
seat shall be placed in any aisle. All platforms in galleries 
formed to receive the seats shall not be more than 21 in. in 
height of riser, nor less than 32 in. in width of platform. 

STAGE 

1. CONSTRUCTION. All that portion of the stage not 
comprised in the working of scenery, traps and other mechan- 
ical apparatus for the presentation of a scene, usually equal 
to the width of the proscenium opening, shall be built of iron 
or steel beams filled in between with fireproof material, and 
all girders for the support of said beams shall be of wrought 
iron or rolled steel. The fly galleries entire, including pin- 
rails, shall be constructed of iron or steel, and the floors of 
said galleries shall be composed of iron or steel beams filled 
with fireproof materials, and no wood boards or sleepers 
shall be used as covering over beams but the said floors shall 
be entirely fireproof. The rigging loft shall be fireproof. 

2. SKYLIGHTS. There shall be provided over the 
stage metal skylights of a combined area of at least one- 
eighth the area of said stage, fitted up with sliding sash and 
glazed with double thick sheet glass not exceeding iy 2 in. 
thick and each pane thereof measuring not less than 300 



118 THEATRES AND PICTURE HOUSES 

sq. in., and the whole of which skylight shall be so constructed 
as to open instantly on the cutting or burning of a hempen 
cord, which shall be arranged to hold said skylights closed 
or some other equally simple approved device for opening 
them may be provided. Immediately underneath the glass of 
said skylights there shall be wire netting, but wire glass shall 
not be used in lieu of this requirement. 

3. SCENERY AND FITTINGS. All stage scenery, 
curtains and decorations made of combustible material, and 
all woodwork on or about the stage shall be painted or satu- 
rated with some non-combustible material or otherwise 
rendered safe against fire, and the finishing coats of paint 
applied to all woodwork through the entire building shall be 
of such kind as will resist fire to the satisfaction of the super- 
intendent of buildings having jurisdiction. 



MISCELLANEOUS REQUIREMENTS 

1. CEILING. The ceilings under each gallery shall be 
entirely formed of fireproof materials. The ceiling of the 
auditorium shall be formed of fireproof materials. 

2. CEILING COVERING. None of the walls or ceilings 
shall be covered with wood sheathing, canvas or any com- 
bustible material. But this shall not exclude the use of wood 
wainscoting to a height not to exceed 6 ft., which shall be 
filled in solid between the wainscoting and the wall with fire- 
proof materials. 

3. FRONTS OF GALLERIES. The fronts of each 
gallery shall be formed of fireproof materials, except the 
capping, which may be made of wood. 



THEATRES AND PICTURE HOUSES 119 

4. LATHING. All lathing, whenever used, shall be of 
wire or other metal. 

5. SHELVING AND CUPBOARDS. All shelves and 
cupboards in each and every dressing room, property room 
or other storage rooms shall be constructed of metal, slate 
or some fireproof material. 

STORAGE ROOMS; WORKSHOPS 

No workshop, storage or general property room shall be 
allowed above the auditorium or stage or under the same or 
in any of the fly galleries. All of said rooms or shops may 
be located in the rear or at the side of the stage, but in such 
cases they shall be separated from the stage by a brick wall 
and the openings leading into said portions shall have fire- 
proof doors on each side of the openings hung to iron eyes 
built into the wall. 



USE AND OCCUPANCY 

1. RESTRICTIONS. No portion of any building here- 
after erected, used or intended to be used for theatrical or 
other purposes, as in this section specified, shall be occupied 
or used as a hotel, boarding, lodging house, factory, work- 
shop or manufactory, or for storage purposes, except as may 
be hereafter specially provided for. This restriction relates 
not only to that portion of the building which contains the 
auditorium and the stage, but applies also to the entire 
structure in conjunction therewith. No store or room con- 
tained in the building or the offices, store or apartment 



120 THEATRES' AND PICTURE HOUSES 

adjoining, as aforesaid, shall be let or used for carrying on 
any business, dealing in articles designated as specially 
hazardous in the classification of the New York Board of 
Fire Underwriters, or for manufacturing purposes. No 
lodging accommodations shall be allowed in any part of the 
building communicating with the auditorium. When 
located on a corner lot the portion of the premises bordering 
on the side street and not required for the uses of the theatre 
may, if such portions be not more than 25 ft. in width, be 
used for offices, stores or apartments, provided the walls 
separating this portion from the theatre proper are carried 
up solidly to and through the roof, and that a fireproof exit is 
provided for the theatre on each tier, communicating with 
balconies and staircases leading to the street in manner pro- 
vided elsewhere in this section; said exit passages shall be 
entirely cut off by brick walls from said offices, stores or 
apartments, and the floors and ceilings in each tier shall be 
fireproof. 

2. ABOVE THEATRE. Nothing herein contained shall 
prevent a roof garden, art gallery or rooms for similar pur- 
poses being placed above a theatre or public building, 
provided the floor of the same, forming the roof over such 
theatre or building, shall be constructed of iron or steel and 
fireproof materials, and that said floor shall have no covering 
boards or sleepers of wood, but shall be of tile or cement. 
Every roof over said garden or rooms shall have all supports 
and rafters of iron or steel and be covered with glass or fire- 
proof materials, or both, but no such roof garden, art gallery 
or room for any public purposes shall be placed over or above 
that portion of any theatre or other building which is used 
as a stage. 



THEATRES AND PICTURE HOUSES 121 

EXTRACT OF THE NEW YORK BUILDING LAWS 
RELATIVE TO PICTURE THEATRES 

Motion picture theatres must be on the ground floor. 

All ceilings must be plastered or, if metal ceilings are used, 
they must be lined with plasterboard. Cellar ceilings must 
be treated in the same manner. 

FLOOR LOADS. Floor loads to be 90 lb. safe load. 

BALCONY. Balcony not to exceed 25 per cent of the 
capacity of the house. 

STAIRS. No balcony stairs shall lead to or from the 
main floor. Stairways to be of fireproof construction. 

AISLES. All aisles shall be at least 3 ft. at narrowest 
point. 

SEATING. Seats spaced not less than 32 in. back to back. 
Thirteen seats allowed between aisles. 

FIRE ESCAPES. There shall be at least one fire escape 
from the balcony to the ground. 

BOOTH. The projection room shall be fireproof and have 
a vent flue to the outside of at least 50 sq. in. 



J. R. CLANCY 

Manufacturer of 

THEATRICAL STAGE 

HARDWARE 

1000-1020 West Belden Ave. 
SYRACUSE, N. Y. 



Stage equipment furnished and erected in any part 
of the United States 



Importer of 

SCENERY, CANVAS 
and SCRIMS 



OXYGEN AND HYDROGEN GASES COM- 
PRESSED IN CYLINDERS FOR THE ROAD 



Lally Columns 



Cement Filled 



Fireproof 



Used almost exclusively in all 

first-class theatres 

Write for our descriptive catalogue 

UNITED STATES COLUMN CO. 

Cambridge, Mas*. 

LALLY COLUMN CO. of NEW YORK 

Calyer and Russell Sts., Brooklyn, N. Y. 

LALLY COLUMN CO. of CHICAGO 

4001 Wentworth Ave., Chicago, 111. 



Jagobson & Company 

Designers and Workers in 

Plaster, Papier Mache and 
Composition Ornaments 

FOR INTERIOR DECORATION 

Specialists in the Plastic Decoration 

of Theatres 

Imitation of All Stones 

and Marbles 

ESTIMATES, CORRESPONDENCE, CATALOGUES 
241 East 44th Street, New York City, N. Y. 



MARBLELOID FIRE-PROOF 
SANITARY FLOORING 

The Standard of Modern Theatre Flooring 

May be Applied Upon New or Old Wood or 

Cement Finished Floors. 
Approved absolutely Fire-proof, Germ-proof, 
Water-proof, Easy and Noiseless to the 
Tread, not Slippery, requires no fabric cov- 
ering — thus saving initial cost in short period 
of service, less expensive than tile and 
terrazzo. 

Manufactured and Installed by 

THE MARBLELOID COMPANY 

1328 Broadway, New York, N. Y. 

Branch Offices and Agencies throughout the United S*ates and Canada. 

Also Manufacturers of Compressed Cork Tile and Tredlite 

A Flexible Cork Composition Tiling 

Write for booklet 



Vonnegut Hardware Co. 

Indianapolis, Indiana 

BUILDERS' MATERIALS 

of all kinds 
Distributors of the 

Von Dupm Self-Releasing 
Fire Exit Devices 

Theatre Building Equipment a Specialty 



For the Proper Ventilation of Theatres 

Specify 
the well known 

ROYAL 

DOUBLE CONE 
VENTILATOR 

The scientific design of 

conical surfaces is 

such as to create a positive draft upward. 

Thev provide an ever-changing supply of fresh 

air and have a STRONG STEADY PULL. 

Catalog on request 

ROYAL VENTILALOR CO., 415 Locust St., Phila., Pa. 




For all information 

concerning the proposition 

of Theatre Fires 

write to 

NATIONAL AUTOMATIC 
SPRINKLER ASSOCIATION 

OFFICE: 80 MAIDEN LANE 
NEW YORK CITY 




MEDUSA 

WHITE 

PORTLAND CEMENT 

WATERPROOFING 

WATERPROOFED 

WHITS PORTLAND 

CEMENT 

These products have been 
used extensively in the con- 
struction of theaters and 
motion picture houses, and 
are being specified by Mr. 
Arthur S. Meloy. Architect, 
Bridgeport, Conn. 

Sandusky Portland Cement Co., Cleveland, O. 



We have agents in all cities 

Write for illustrated 
Catalogs 



Kenny 

Electrical Mfe. Co. 



55 Wall Street 

Room 323 

NEW YORK CITY 






Mfg. of the Kenny Signal Systems 
for Theatre Seats 



Theatres and Motion Picture Houses 

can be thoroughly and satisfactorily heated 

by the 

RICHARDSON 

Steam or Water Boilers 

or 

"Perfect" Warm Air Furnaces 

Will be pleased to send catalogues 

RICHARDSON & BOYNTON CO., 

Manufacturers 
31 West 31st Street : : : : : NEW YORK 



Scenery— Drop Curtains 

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LEE LASH STUDIOS 

308 to 316 EAST 48th STREET, NEW YORK 

Broadway Offices: LONG ACRE BUILDING 



Universal Electric Stage Lighting Co. 

KLIEGL BROS., Props. 240 West 50th Street, New York City 

Manufacturers of 

Stage Lighting Apparatus and Effect 

Electrical Signs and Illuminations 

Studio Outfits Arc Lamps Accessories 

EVERYTHING ELECTRICAL FOR THEATRES 



AIR FIRST 



The success of your theatre depends on two 

thing's: 

GOOD AIR and GOOD FILMS OR PLAYS. 

AIR first, because no matter how good your 

films or plays, if the theatre is close, hot and 

stuffy, people will gr> elsewhere. 

If you want capacity houses, see that your 

theatre is properly ventilated, which may 

be easily, inexpensively and permanently 

maintained by the installation of 



H 



Globe" Ventilators 



They are absolutely noiseless — there are no 
moving parts to get out of order — they are 
storm proof, simple, efficient. Install them 
and forget them; they will be busy every 
minute 24 hours a day, helping you make 
more profits. 




Globe Ventilator Co., Troy, n.y. 



CRANE 

PLUMBING 

and 
HEATING 
FIXTURES 

ARE STANDARD 
THE WORLD OVER 

CRANE CO. 

Founded 1855 

CHICAGO, ILL. 

44 Branch Houses 



FREDENBURG 

y 

LOUNSBURY 

381 Fourth Ave., Cor. 27th St. 
NEW YORK 



HY-TEX Face Bricks 

New Textures 
New Shades 
New Types 



Write for samples 



THE FAMOUS 



CANTON STEEL CEILINGS 

The only steel ceiling 
made on a tool steel die 



Repressed Beads, Die Cut Nail 
Holes. Absolute Accuracy. 

DURABLE, ARTISTIC, 
FIRE RESISTING 

Specialists in Interior Finish of 

THEATERS, CHURCHES 

and all 

PUBLIC INSTITUTIONS 

Including Private House Work 

THE CANTON STEEL CEILING CO. 

497-501 WEST ST., NEW YORK CITY 

AGENTS IN ALL PRINCIPAL CITIES 






WM. MARTIN, JR. E. V. O'BRIEN 

Martin & O'Brien 

MASONS & 
BUILDERS 

Warner Building 
BRIDGEPORT, CONN. 

Theatres and Heavy Construction 

a Specialty 



The Hart & Crouse Co. 

Smokeless Water Tube 
Boilers 

1\/TECHANICAL ventilation, as now installed in theatres, 
motion picture houses and public building's, means a large 
coal consumption in boilers. The H & C Boiler burns soft coal 
with smokeless results. Soft coal is cheaper and contains more 
available heat ton for ton than does hard coal. If you burn soft 
coal anyway, the H & C Boiler will take less coal for the same work. 
This means economy and satisfaction. 

new york tjadT X^/^d/^ttcet r*r\ Washington 

CLEVELAND iTl/lIY 1 C5 V^IVUUollr VjiKJ . CHICAGO 

UTICA, NEW YORK 



fmiiiimiiiimiiiiiiiiimiiiraii A A/ICDTPAM C^P ATTHTP rVllUnSXTV m ' 'Uinints 

/\Atl(lLAN }fMh IjOAPAIT 



Exclusive Manufacturers of 

Furnishings for Theatres, Schools, 
Churches and all Public Buildings 




When you want Opera Chairs, remember we have 

50,000 Chairs 

| ALWAYS IN STOCK 

| in 6 different styles in Imitation Mahogany and Circassian Wal- | 
nut finishes, assuring you satisfactory selection and 

IMMEDIATE SERVICE 

Other designs of Upholstered and Unupholstered Chairs un- | 
| limited in number, furnished in 25 to 50 days after receipt of 1 
| specifications, depending on character of chairs selected. 

Our Consultation Service, specializing in designing economical | 
arrangements for theatre seating is tendered to you without any j 
| charge whatever. 

Descriptive literature on request. 

1 For prompt attention address : | 

General Offices: LYTTON BUILDING, CHICAGO, ILLINOIS 

Sales offices in all principal cities 

: : ■ -r .-mi: ■ ;i ■ .^ i» :^ i : : 1 1 < ! r l r 1 1 1 1 1 1 i i : i 1 1 1 : 1 1 [ l L 1 1 1 M l 1 1 1 1 1 1 1 > ; 1 1 1 1 1 < j - 1 : 1 n : '- ! 1 1 r i I ! . I ' : ^ : : : 1 1 ^ m 7 1 J - ; : 1 1 1 :: ' : 1 1 1 - , m 1 1 1 1 ! ^ 1 : - : - "- 






PROTECTION FOR YOUR PATRONS 
THE JOHNS-MANVILLE WAY 



J-M ASBESTOS BOOTHS 

No material 
is more suited 
to motioo pic- 
ture booth 
cons truction 
than asbes- 
tos— 

F irst, be- 
cause it is a 
positive pro- 
tection for 
audience or 
operator in 
case of fire, 
and 

Second, be- 
cause it makes 
a lighter and 
cooler booth 
than metal, is 
gas, smoke 
and sound-proof, and is a non-conductor of flectricity. 

There are three styles— permanent, semi-portable and 
portable; all sizes. 





J-M FIRE EXTINGUISHER 

The incipient blaze "back 
stage," the electric switch- 
board fire or the film fire will 
never cause panic and dis- 
aster if a Johns-Manville 
Fire Extinguisher is in reach. 

It effectively puts out any 
litle fire before it grows big. 

There are two methods of 
operation: Pump-as-you-use, 
or Pump-up, open the nozzle 
and discharge automatically 
— leaving both hands free to 
aim or direct stream in 
cramped quarters. 

Price $8, brass or nickel, 
including black enameled 
bracket. 



J-M LIGHTING SERVICE 



Expert study of individual theatre lighting problems 
is offered by this service, guaranteeing the most per- 
fect results possible. Frink polaralite signs are especially adapted for exit signs, markers, etc. 
Let us tell you more about this service. 

J-M ASBESTOS ROOFINGS — Johns-Manville Asbestos Roofings in Built-Up or Ready form are 
the highest types of commercial roofing. They are highly fire-resistant and give longest wear 
with least upkeep costs. Approved by Fire Underwriters. 

H. W. JOHNS-MANVILLE CO., NEW YORK AND EVERY LARGE CITY 



The WONbER paint 




WHEN YOU SPECIFY 



"ZINOLIN-and-OIL" Don't Add "Or Equal" 

Zinolin is the one outside paint that has no "equal." It is the original and only 
product offering all the durability of pure zinc, but with the brittleness and non- 
oil-taking properties of zinc removed. 

ZINOLIN 

the 'Arnold- ized" zinc 

is the "wonder paint" because it is guaranteed not to crack, peel or chalk — because it offers 
the superior brilliance of zinc whiteness — because the colors added to it never fade — and 
because it absorbs twice the oil that lead does — -which makes its luster last as long as the 
paint lasts. Zinolin goes one-third farther and hides jet black with two coats. In specifying 
just say — "Zinolin-and-oil" instead of lead-and-oil. Inquiries invited. 

KEYSTONE VARNISH COMPANY, 1206 Keystona Bldg., Brooklyn, N. Y. 

Makers of justly famous Keystona, the original washable wall paint 



CHANNEL READY FOR MORTAR 



OPEN 



VERTICAL 
AIRSPACE 



NTERIOK PLA5TER. 
APPLIED DIRECTLY 
TO THE WALL 



INTERLOCK AND 
MOISTURE CHECK 



2 INCH HORIZONTAL 
AIRSPACE, GIVING 
INSULATION AQAIN5T 
HEAT. COLD AND 
MOISTURE 




CHANNEL TILLED 
WITH MORTAR 
PREPARATORY TO 
LAYING THE NEXT 
'FI5KLOCK" 



FINISHED EXTERIOR 
OF WALL THE FACE 
OF EACH UNIT IS OF 
REGULAR BRICK SIZE 
ie £>\2'/£ 

WEB CONNECTING 
THE DOUBLE WALLS 

TWIN WALLS OF 
SOLID 3 INCH 
FIREPROOF MATERIAL 



"Fisklock"- "Tapestry" Brick 

HARDONCOURT-FISKE PATENTS 

It is the most beautiful — it is 'Tapestry" Brick — the 
same size, color, texture and mortar joint. 

It is the most serviceable — it is fireproof, vermin proof, 
repair proof, moisture proof and is stronger than walls of 
either hollow tile or solid common brick. 

It is the cheapest — except frame or common brick and 
costs only a trifle more than either. 

It is sold under the "Open Price" Policy — one price to all. 
Send for Catalogue and full information to either office. 

FISKE & COMPANY, Inc. 

Sole Manufacturers of " Tapestry" Brick 

25 ARCH STREET, BOSTON, MASS. 
ARENA BUILDING, NEW YORK 



TRADE DIRECTORY 

List of Leading Houses Furnishing Materials, Supplies and 
Equipment for Theatres 

AIR WASHERS. 
American Blower Co., Detroit, Mich. 

AMUSEMENT DEVICES. 

W. H. Osterlie Amusement Co., 500 Fifth Ave., New York City. 

Novelty Machine Co., 2 Rector St., New York City. 

The A. J. Smith Mfg. Co., 3247 W. Van Buren St., Chicago, 111. 

ARCHITECTS. 

Aromer & Somers, Chicago, 111. 
Chapman & Magney, Chicago, 111. 
Henry Herts, New York City. 
Jardine, Hill & Murdock, New York City. 
Thomas W. Lamb, New York City. 
G. Albert Lansburg, Kansas City, Mo. 
Mahler & Cordell, Chicago, 111. 
Arthur S. Meloy, Bridgeport, Conn. 
Nathan Myers, Bloomfield, N. J. 
E. T. Madoric, Kansas City, Kan. 
Neville & Bagge, New York City. • 
J. E. 0. Prindmore, Chicago, 111. 
Proudfoot & Hawson, Des Moines, Iowa. 
H. C. Severance, New York City. 
T. W. Wintworth, Paterson, N. J. 

ASBESTOS CURTAINS. 

The H. W. Johns-Manville Co., Madison Ave. and Forty-first St., New York City. 

ASBESTOS ROOFING. 

The H. W. Johns-Manville Co., New York City. 

BOILERS (Heating) 

Richardson & Boynton Co., 31 West Thirty-first St., New York City. 
Hart and Crouse Co., Utica, New York. 

BOOTHS (Projection). 

The H. W. Johns-Manville Co., Madison Ave. and Forty-first St., New York City. 

BRASS WORK. 

American Brass Works, Ansonia, Conn. 

BRICKS (Face). 

Fredenburg & Lounsbury, 381 Fourth Ave., New York City. 

Fisk & Co., 40 West Thirty-second St., New York City. 

Washington Brick, Lime & Sewer Pipe Co., Washington St., Spokane, Wash. 

CAMERAS (Motion Picture). 

Nicholas Power Co., New York City, 90 Gold St. 

Moving Picture Camera Co., New York City. 

Precision Machine Co., 317 East Eighty-fourth St., New York City. 



CAPITALS (Composition). 

Decorators Supply Co., 209 South Clinton St., Chicago, 111. 
Fischer & Jirouch, Cleveland, Ohio. 

CEMENT. 

Atlas Portland Cement Co., New York City. 
Sandusky Portland Cement Co., Cleveland, Ohio. 

COMPOSITION FLOORING. 

Marbleoid Co., The, Broadway and Thirty-fourth St., New York City. 

COMPOSITION ORNAMENTS. 

Decorators Supply Co., 209 South Clinton St., Chicago, 111. 
Fischer & Jirouch, Cleveland, Ohio. 

CONTRACTORS. 
Martin & O'Brien, Bridgeport, Conn. 

COLUMNS. 

United States Column Co., Erie & Albany Sts., Cambridge, Mass. 

CURTAINS (Scenic). 

Lee-Lash Studios, 308 East Forty-eighth St., New York City. 

DECORATIONS. 

Decorators Supply Co., 209 South Clinton St., Chicago, 111. 

Fischer & Jirouch, Cleveland, Ohio. 

Kehrwieder Co., 31 Union Square, West, New York City. 

F. Ferrari, 96 William St., New Haven, Conn. 

C. R. Root, 104 Asylum St., Hartford, Conn. 

ELECTRICAL EQUIPMENT. 

Universal Stage Lighting Co., 240 West Fiftieth St., New York City. 
General Electric Co., Schenectady, N. Y. 

ELECTRIC (Blower) FANS. 

American Blower Co., Detroit, Mich. 

New York Blower Co., New York and Chicago. 

ELECTRIC SIGNS. 
Kliegel Bros., 240 West Fiftieth St., New York City. 

ELEVATORS and ESCALATORS. 
Otis Elevator Co., Eleventh Ave. and Twenty-sixth St., New York City. 

FILM MANUFACTURERS. 

American Film Mfg. Co., New York City. 

Broncho Motion Picture Co., New York City. 

Eclair Film Co., New York City. 

Keystone Film Co., Forty-second St. and Broadway, New York City. 

Majestic Film Co., New Rochelle, N. Y. 

New York Motion Picture Corporation, New York City. 

Thanhouser Film Co., New Rochelle, N. Y. 

Mutual Film Co., New York City. 

Universal Film Mfg. Co., Forty-eighth St. and Broadway, New York City. 

Thomas A. Edison, Orange, N. J. 

Essanay Film Mfg. Co., Chicago, 111. 

Kalem Co., New York City. 






Lubin Mfg. Co., Philadelphia, Pa. 
Pathe Freres, New York City. 
Selig Polyscope Co., Chicago, 111. 
The Vitagraph Co., Brooklyn, N. Y. 

HEATING AND VENTILATING APPARATUS. 

American Blower Co., Detroit, Mich. 

New York Blower Co., New York City. 

Hart & Crouse (Boilers), Utica, N. Y. 

Richardson & Boynton Co. (Boilers), 31 West Thirty-first St., New York City. 

LIGHTING FIXTURES. 

H. W. Johns-Manville Co., Madison Ave. and Forty-first St., New York City. 

Universal Stage Lighting Co., New York City. 

National X-Ray Reflector Co., 505 Fifth Ave., New York City. 

METAL CEILINGS. 

Canton Metal Ceiling Co., Canton, Ohio. 

OPERA CHAIRS. 

American Seating Co., 14 East Jackson Boulevard, Chicago, 111. 

ORNAMENTAL IRON. 

Berger Mfg. Co., Canton, Ohio. 

Van Dorn Iron Works, Cleveland, Ohio. 

Hartford Iron Works, Inc., East Hartford, Conn. 

PAINT. 

Keystone Varnish Co., 71 Otsego St., Brooklyn, N. Y. 

PANIC BOLTS. 

P. & F. Vorbin, New Britain, Conn. 
Reading Hardware Co., Reading, Pa. 
Russell & Erwin Mfg. Co., New Britain, Conn. 
Sargent Hardware Co., New Haven, Conn. 
Vonnegut Hardware Co., Indianapolis, Ind. 

PIPE. 
A. M. Byers Co., Pittsburg, Pa. 
Crane Co., 836 South Michigan Ave., Chicago, 111. Branches in principal cities 

PLASTIC RELIEF ORNAMENTS. 

Decorators Supply Co., 209 South Clinton St., Chicago, 111. 

Fischer & Jirouch, Cleveland, Ohio. 

Kehrwieder Co., 31 Union Square West, New York City. 

F. Ferrari, 96 William St., New Haven, Conn. 

C. R. Root, 104 Asylum St., Hartford, Conn. 

ROOFING. 

The H. W. Johns-Manville Co., New York City. 

SCENIC PAINTERS. 

Frank M. Green Scenic Co., Louisville, Ky. 
The New York Studios, Times Building, New York City. 
Lee-Lash Studios, 308 East Forty-eighth St., New York City. 
Austin Rowell, Pittsburg, Pa. 

SCREENS. 

Alfred L. Simpson, Inc., 113 West 132d St., New York City. 
Photo Play Co., 30 West Lake St., Chicago, 111. 



RAILINGS. 

Baldwin Brass Works, Chicago, 111. 

Buffalo Wire Works, Buffalo, N. Y. 

Columbus Brass Co., Columbus, Ohio. 

Rochester Brass & Iron Works Co., Rochester, N. Y. 

The Newman Mfg. Co., Cincinnati, Ohio. 

Smith Wire & Iron Works Co., Chicago. 

SEATS. 

American Seating Co., 14 East Jackson Boulevard, Chicago, 111. 

SHEET METAL. 

Berger Mfg. Co., Canton, Ohio. 
W. H. Mullins Co., Salem, Ohio. 
Canton Mfg. Co. (Ceilings), Canton, Ohio. 

SHUTTERS (IRON & STEEL). 

Berger Mfg. Co., Canton, Ohio. 
Cornell Iron Works, New York City. 
Kinnear & Gager Mfg. Co., Columbus, Ohio. 
J. G. Wilson Corporation, New York City. 

SKYLIGHTS. 

G. Drouve Co., Bridgeport, Conn. 
Berger Mfg. Co., Canton, Ohio. 
W. H. Mullins Co., Salem, Ohio. 

SPRINKLER SYSTEMS. 

General Fire Extinguisher Co., New York City. 

STAGE EQUIPMENT. 

J. R. Clancy, Syracuse, N. Y. 

STAGE LIGHTING. 
Kliegel Bros., 240 West Fiftieth St., New York City. 

TERRA COTTA (Architectural). 

American Terra Cotta & Ceramic Co., Peoples Gas Bldg., Chicago, 111. 

Clark & Sons, N., 116 Natoma St., San Francisco, Cal. 

Denny-Renton Clay & Coal Co., Hoge Bldg., Seattle, Wash. 

Denver Terra Cotta Co., West First Ave., Denver, Col. 

Federal Terra Cotta Co., Ill Broadway, New York City. 

Gladding, McBean & Co., Crocker Bldg., San Francisco, Cal. 

Indianapolis Terra Cotta Co., Indianapolis, Ind. 

Kansas City Terra Cotta & Faience Co., 19th St. & Manchester Ave., Kansas City. 

Maryland Terra Cotta Co., North Ave. & Oak St., Baltimore, Md. 

Midland Terra Cotta Co., Chamber of Commerce, Chicago, 111. 

New Jersey Terra Cotta Co., Singer Building, New York City. 

New York Architectural Terra Cotta Co., 401 Vernon Ave., Bor. Queens, N. Y. C. 

Northwestern Terra Cotta Co., 2525 Clybourn Ave., Chicago, 111. 

St. Louis Terra Cotta Co., 5815 Manchester Ave., St. Louis, Mo. 

South Amboy Terra Cotta Co., 150 Nassau St., New York City. 

Washington Brick, Lime & Sewer Co., Washington St., Spokane, Wash. 

Western Terra Cotta Co., Franklin Ave. & Mo. Pac. Ry., Kansas City, Kans. 

VACUUM CLEANERS. 

Spencer Turbine Cleaner Co., Hartford, Conn. 
United Electric Co., Canton, Ohio. 
Thompson Mfg. Co., Des Moines, Iowa. 



VALVES. 

Crane Co., New York and all principal cities. 

VARNISH MANUFACTURERS. 

Keystone Varnish Co., Brooklyn, N. Y. 
Chicago Varnish Co., Chicago, 111. 
Standard Varnish Works, Chicago, 111. 
Edward Smith, Brooklyn, N. Y. 

VENTILATORS. 

Globe Ventilator Co., Troy, N. Y. 

Autoforce Ventilating System, 53 Devonshire St., Boston, Mass. 

Knowles Mushroom Ventilator Co., Air Diffuser Heads, 9 Church St., New York. 

WIRE WORK. 

Buffalo Wire Works Co., Buffalo, N. Y. 

Smith Wire & Iron Works, Chicago, 111. 

Rochester Brass & Wire Works Co., Rochester, N. Y. 



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